2024 has been a year of reckoning, globally and across the African continent. Global cultural shifts, particularly the pushback against monopolistic cultural gatekeeping, highlighted the value of regional, grassroots creativity. Africa’s music scene, long overlooked in favor of Western templates, capitalized on this moment to demand its rightful space in global charts, playlists and award categories. Afrobeats ruled much of this rise, even amid dissenting opinions on who truly falls under the genre’s umbrella, with its impact reflected in the widespread recognition across accolade categories.

What began as a slow year quickly ramped up with a surge of projects. Artists freely reached back for the classics in attempts to flex their creative muscle, straddling tradition and experimentation while engaging with influences from modern sounds including Amapiano, Saharan rock, electronic Afrofuturism. Hence, this year’s best albums demonstrate the innovation that defines African music today.

50. Simi – Lost and Found

Amid the demands of marriage and early motherhood, Simi embarks on a journey of self-rediscovery with her sixth studio album, Lost and Found. This project marks a heartfelt return to her signature R&B melodies and poignant exploration of love and passion.

Over 14 tracks, Simi takes listeners on a delightful journey through the spectrum of romance, a celebration of feminine strength and beauty, and glimpses of her artistic evolution. Most notably, the album evokes nostalgia for the sounds that first propelled her to stardom.

With a blend of Afropop and R&B, Lost and Found shines brightest in its display of Simi’s sonorous vocals and the thoughtfully curated collaborations. Featuring long-time collaborators Falz and Ladipoe, as well as female music stars, Asa and Tiwa Savage, the album benefits from a rich diversity of voices. Simi also fullfils her dream of collaborating with the legendary Ebenezer Obey, while Lojay and Bella Shmurda bring fresh energy to this vibrant project. – Johnson Opeisa

49. Ugoccie – Voice of The East 

2024 saw the loss of pioneering Igbo singers and actors like Onyeka Onwenu. It also saw the blossoming of Ugoccie, one of the few Igbo artists singing primarily in Igbo and even fewer contemporary women artists documenting the Eastern Nigerian experience in music. The rapper and singer behind the hit singles “Obi Cubana” and “Do You Really Love Me?”, Ugoccie’s 2024 EP, Voice of The East, is an exploration of what being Igbo and proud should look like. The five track EP was sung almost exclusively in Igbo and features collaborations with highlife singers like Umu Obiligbo.

“Uwa” featuring Umu Obiligbo is centered around the uncertainty of attraction and whether one’s beauty or ugliness is physical or character-based. Heralded by the trademark Umu Obiligbo cadence, the melody owes much to the duo’s input. One of the standout aspects of the project is the instrumentation, particularly the foundational guitar that cuts across most tunes. Relatability is a big deal for Ugoccie and on “Ezi Enyi” (which translates to “true friend”) she tackles disloyalty and false friendships with an ironic approach. On her first verse, Ugoccie sings, “Ezi enyi ma ị chọghị ị fụ ọganiru m, ezi enyi anaa (genuine companion, yet you don’t need to see my progress).” 

All five songs document Ugoccie’s experiences with heartbreak, love, friendship and is a project that displays Ugoccie’s talent as both a singer and rapper to impressive degrees. What is particularly notable about this album is that although it is primarily sung in Igbo, the language never feels like a barrier to entry. Voice of The East speaks to any lover of good music in spite of their lexical leanings. – Angel Nduka-Nwosu

48. J4v1nny – Coffins Only Look Beautiful When You’re Not In Them

The hardest part of being an Afrobeats creator in an era where listeners are strict about what they want to hear is finding your true sound. The water is huge. There are a lot of enthusing bays. But a wrong dip might drown you. 

J4v1nny (pronounced “Jovanny”) might as well be Michael Phelps. The Lagos based alternative R&B singer makes music from his soul. C.O.L.B.W.Y.N.I.T is his debut studio album after a couple of EPs. J4v1nny sings introspectively and focuses on subject matter like love, heartbreak, and several other complex emotions most of his contemporaries shirk.

“War In Ba Sing Se” is the standout track on the project, referencing the famous “there is no war in Ba Sing Se” phrase from the Nickelodeon series, Avatar the Last Airbender. The beat change from an upbeat English-dominant verse that transforms to slow Yoruba chants is unexpected, which enhances its surrealism. 

Legally Ogunyemi Francis, J4v1nny’s experimental approach to music makes the album a worthwhile listen. Overall, C.O.L.B.W.Y.N.I.T is a seminal debut album from the rising star that raises hopes for his sophomore release. – Favour Overo

47. Shallipopi – Shakespopi

If 2023 was the year that introduced Shallipopi as an artist intent on documenting contemporary Nigerian rap and music that centered Edo culture, then 2024 was the year that cemented Shallipopi’s versatility across genres.

At first glance, Shakespopi, obviously draws inspiration from the late English playwright and poet, Williams Shakespeare. Spread between the content of the songs themselves, the album title and the album cover art — which references Shakespeare’s seminal painting — this album saw Shallipopi embody a spirit outside of his own.

Through songs like “ASAP”, Shallipopi explores genres like Highlife, a choice previously unconsidered throughout his discography. In fact, his other records released in 2023 like “Obapluto” and “Ex-Convict” are unlikely to fit within the framework of Shakespopi as a result of such experimentation. The only return to his established canon comes via his love for a good posse cut as all his collaborations on Shakespopi come alongside Zerrydl, Reehaa, Tega Boi DC and Jenerall. While maintaining the style of rapping that Shallipopi is known for, on Shakespopi, the artist’s exploration finds land and grants him the freedom to use genres like amapiano, R&B and Afrobeats to his heart’s desire. – Angel Nduka-Nwosu

46. Vector Da Viper – Teslim: A Lover Boy PTSD

With Teslim: A Lover Boy PTSD, rapper and singer Vector dives into a transformative exploration of love, heartbreak, and emotional healing, blending his trademark lyrical brilliance with introspective storytelling.

The album’s 10 tracks, featuring collaborations with artists like Tiwa Savage, Niniola, and Bella Shmurda, exhibit Vector’s ability to pivot from his gritty rap roots to a more melodic and emotionally vulnerable approach. Tracks such as “Repay Your Part” and “Bum Bum Of My Heart” merge a humorous romantic narrative, while songs like “Kampe” spotlight his ability to balance upbeat rhythms with contemplative themes.

This project follows his 2022 album, Teslim: The Energy Still Lives In Me, which was a tribute to his late father and explored topics like self-awareness and identity. With Teslim: A Lover Boy PTSD, Vector challenges traditional masculinity in Nigerian music, creating an album that is both deeply personal and universally relatable, expanding his artistic boundaries. – Kolawole Michael

45. King Promise – True to Self

King Promise’s True To Self is a revelation for the Ghanaian singer — one that fully crystallizes the immense potential he’s been hinting at since his breakout. The album places him firmly at the intersection of contemporary Afropop and more intimate, reflective genres. Through the lush landscapes of romance and vulnerability, King Promise paints a portrait of an artist rising through the ranks while wrestling with the pressures of stardom.

Moreover, King Promise shows that he understands the importance of collaboration and the platforming of both upcoming and well established names in the Ghanaian and Nigerian musical industries. The album boasts features with artists like Sarkodie, FAVE, Ladipoe, Gabzy and Shallipopi. Some notable songs from the album include “Permission Granted” which features Fave, “Continental” which featured Shallipopi and “Perfect Combi,” a song that took over Nigerian airwaves and social media with its viral hook. – Angel Nduka-Nwosu

44. Busta 929 – Love Potion

Busta 929’s year was a testament of his dedication and impeccable work ethic. Within 10 months, the South African DJ was involved in the creation of three albums. In My 20’s and Love Potion were his projects, and on Ukuzithola, he collaborated with Predope, the vocalist, and Zwesh SA. 

Love Potion, the earliest release of all three was an absolute show of sound mastery, as the disk jockey skillfully plays with Amapiano fusions while combining Afrobeats, EDM, and native South African elements to his production. 

Majority of the vocals are in Zulu, but Busta 929’s prowess on the steels don’t need words before they get you dancing. On “Ride or Die,” there is a beautiful interpolation of Aaliyah’s “One in A Million.” The feature list on Love Potion also added to its brilliance. Many of the tracks had Italian DJ, BlackChild, supporting Busta, and artists like BON, Lolo SA, and Nation-365 featured across the album. – Favour Overo

43. Kojo Blak – 757

Kojo Blak’s latest EP, 757, is an exploration of his reflective journey as an artist. With nine captivating tracks, the project intersects the themes of struggle, love, and self-examination. This Ghanaian talent expertly weaves heartfelt stories into his music, blending afrobeats, hip-hop, and highlife to illustrate a remarkable range and lyrical finesse.

757 takes listeners on an emotional rollercoaster, capturing both the soaring highs and the challenging lows of life. For Kojo Blak, each track offers an experience that feels personal but inclusive, inviting everyone to immerse themselves in his artistic vision.

Following the success of earlier collaborations, such as “Rugged” with Olivetheboy, Kojo Blak solidifies his commitment to creating music that resonates on an emotional level. This EP is not just a collection of songs: it’s a bold declaration of his journey toward authenticity amidst life’s complexities. With its poetic vulnerability and immersive sound, 757 is an experience that demands attention and invites listeners to see the world through Kojo Blak’s eyes. – Kolawole Michael

42. Youthsayers – Don’t Blame The Youth

Since the introduction of Afrobeats, there has never been a dearth of African artists ready to explore the genre while putting their own unique spins on the genre. The 2024 album, Don’t Blame The Youth, by musical group Youthsayers, is not only a celebration of what it means to be young and unhindered, it is also a clear celebration of reinvention. The South London based collective’s focus on Afrobeats is interesting for a few reasons. Founded by Robin Hopcraft and Idris Rahman of the legendary Afro-reggae outfit Soothsayers, the Youthsayers represent the band’s effort at a far-reaching CSR project that aims at teaching kids in the community an instrument and music theory. South London’s black burgeoning black populace belies the need for a project like this. Estimated at 36% of the South London demographic in 2023, it stands to reason that a project like this would perhaps be better suited to West or North London. However, that divide implies the importance of such representation. Heavily influenced by the work of Fela Kuti, Theon Cross and Hugh Masekala, the Soothsayers have performed and recorded extensive bodies of work rooted in Afro-expression. Perhaps one of the last bastions of authentic jazz and afrobeat infusions, the irony of an Irish guitarist and a British-Bengali saxophonist becoming vessels for the propagation of authentic afrobeats 40 years after its global establishment is not lost on anyone. 

The interpolation of multiple musical genres like Afrobeats, jazz and highlife by the different African nations and their musical representatives on the project is a direct contribution to the enhancement and display of our diversity as well as the diversity of the music inspired by the continent. According to the band’s label Wah Wah 45s, the album also showcases the Youthsayers students’ own writing abilities, not only on their original composition, “Citizens Not Subjects”, written alongside Levitation Orchestra’s director and trumpeter Axel Kaner-Lindstrom, but also via a re-working of the Tommy McCook instrumental “Tenor On The Call” with lyrics re-written by Youthsayers’ clarinet player Giacomo Del Rei and re-named “We Keep Playing”.

Even more, Don’t Blame The Youth is centered around themes like identity crisis, culture wars and immigration but more importantly, it engages how all of these factors and nuances blend together to create a unique story, particularly for children of African parents born in Western countries. An entirely solo album, some notable tracks include “JJD”, “Ethiopia”, “Goodnight Rico” and “Citizens Not Subjects”. – Angel Nduka-Nwosu

41. Tiwa Savage – Water & Garri OST

This year, Tiwa Savage produced and starred in her debut film, Water & Garri, and while many critics and cinephiles expressed discontent over the film’s overall quality, the official soundtrack is unarguably one of the best projects released this year. From the song arrangement to the featured artists, the vocal performances and production, the presentation and cinematic tie-ins, Water & Garri is a solid reminder of Savage’s artistic prowess.

Like a chameleon, Savage takes on different personas as she explores a range of themes. On records like “Emotions”, “Lost Time”, and “I Need You”, she is a vulnerable, lovestruck individual who craves the affection of her lover, while on “Gara”, “Kilimajaro”, and “Commona”, she dominates the dancefloor, presenting a variety of captivating performances. 

One major standout of the album is the lineup of collaborators. The features, which include Asa, Ayra Starr, Reekado Banks, Olamide, Young Jonn, Black Sherif, The Cavemen, Mystro, and Zacardi Cortez, add significant diversity to the overall project. By the end of the album, you know have been offered an unforgettably well curated musical experience. – Hope Ibiale

40. Ibibio Sound Machine – Pull The Rope

The contributions of Nigerians in the diaspora towards the mainstreaming of Nigerian music is one that needs to be discussed alongside critiques of authenticity and originality. Ibibio Sound Machine, a UK based group whose lead singer is Eno Williams, is one of those documenting the realities of being a migrant in Western society. The group’s ten track, fourth album, Pull The Rope, contains records like “Got To Be Who U Are”, “Political Incorrect” and “Them Say”. Straying from the tight afrobeat leash of their previous album Electricity, Pull the Rope refocuses on the bands electronic and dance music origins.

Opting to instead tie in Eno’s heritage lyrically, on “Got To Be Who U Are”, homage is paid to cultural hotspots in Lagos like Surulere, Yaba and Isale Eko. These three parts of Lagos represent trade, youth and the creative scene in the city, all elements that make up the mosaic of Ibibio Sound Machine’s soundscape. The sensuous approach on the project is a conscious choice, one that helps the project feel like the kind of music suited to a comedown rather than a turn up. Largely operating within the forays of dance and electro, every song utilizes specific elements from all over, whether it is the blend of traditional rock and roll alongside afrobeat percussion that defines the opener or Eno Williams’ infusions of contemporary jazz, R&B and soul on “Political Incorrect” for a varied listening experience.

Overall, Pull The Rope is a meticulously performed album about the Nigerian and Afropolitan experience through the lens of  non-conformist counter culturists. – Angel Nduka-Nwosu

39. Syntax, the Creator – Room 203

The city of Ibadan has long been one Nigeria’s most influential cities, contributing significantly to music, literature, film, art, architecture, and politics. In 2024, the city still delivered its creative quota to the entertainment industry, particularly through music. Ibadan-based artists such as Beautiful Nubia, Tega Ethan, Laolu, and many others released excellent music that provided soothing satisfaction to the sonic palette of listeners seeking something different. 

Another Ibadan-based artist who delivered arguably one of the best projects this year is Syntax, the Creator. The music producer, singer and songwriter released his debut EP, Room 203. This five track project stands out for its pristine production, talented collaborators, and well-mixed records. Across the EP, Syntax takes charge of the production, showcasing his instrumental prowess, and carefully inserting himself into the next-rated conversation.  Another impressive aspect of Room 203 is Sytax’s approach to features. No performance felt out of place, and the collaborators were evidently invested in the project’s success. The unpredictability of each record makes for a fascinating listen. No two tracks sounded alike, yet the project maintained remarkable cohesiveness. With just five records boasting stellar production and collaborations, Room 203 secures a spot on Bounce’s list of best albums released this year in spite of its brevity. – Hope Ibiale

38. Ajebo Hustlers – Bad Boy Etiquette 102: Continuous Assessment 

Dynamic duo Ajebo Hustlers declared a feast with the release of Bad Boy Etiquette 102: Continuous Assessment, a vibrant sequel to their 2022 EP, Bad Boy Etiquette 101, which was focused around street ambition and sexual pleasure. Staying true to their brand of creativity, the duo sets the tone for the project aided by a captivating animated video that teases the EP’s vision and guest features.

Like the first installment, Bad Boy Etiquette 102 begins with “Dreams,” a track highlighting the struggles for success faced by the average Nigerian. This time, the song features fellow street-to-stardom rappers Zlatan and Blaqbonez, who bring the same local lingua that fuels much of the project. Unlike Bad Boy Etiquette 101, where Fave and Mayorkun were the only featured artists, Bad Boy Etiquette 102 expands its collaborations to include ODUMODUBLVK, Jeriq, Sarkodie, King Promise, Magixx, and Raebel across its 10 tracks, spanning 31 minutes. – Johnson Opeisa

37. Olamide – Ikigai, Vol. 1

The Japanese phrase, “ikigai” means “purpose in life,” and judging by the quality and level Olamide has operated at for the last two decades, his ikigai is to make music. This is his sole purpose for being on this Earth. 

The theme of Ikigai, Vol. 1 is largely gratitude and appreciation. For all his talent and how far he has come, he venerates his maker on “Morowore.” Once an aspiring rapper on streets of Bariga, the now label boss and king maker identifies the presence of God’s hand in his journey on an interpolation of Paul I.K. Dairo’s “Mo Wa Dupe.” 

On “Uptown Disco,” he employs the present YBNL class, allowing his world-dominant proteges, Fireboy DML and Asake, to spit fiery bars over the bouncy beats that would have listeners “dancing like Sisqó.” He also has the last set of YBNL signees on the outro, “Synchro System.” With Drill and Shaolin-inspired beats mastered by Pheelz, Lil Kesh and Young John also join the reunion to reminisce on their unreal journey over the years, qualifying their experience with cinematic verbiage.

The appreciation basket also gets to the women. On the “Makaveli,” “Knockout,” and “Habibi” run, Olamide is sensual, raunchy, and hedonistic, both subtly and overtly. “Makaveli” has him analogically boast of his qualities, imbuing every bit of swag he can throughout. The Fuji-influenced hook also works brilliantly, and on “Knockout,” he makes the message quite direct with lyrics like “why are you sexy like this?”.  The lead single, “Habibi”, doubles as the album’s hit track. The scintillating Middle-Eastern flutes at the start are mysterious, until they fade into the background thanks to the heavy bass that follows shortly after. 

The production from Semzi and the other sonic architects cannot go unmentioned. The sound quality on Ikigai Vol. 1 is top class, with every beat, synth, and string opening room for Baddo to deliver. If Olamide decides to release an installment, I will be there. – Favour Overo

36. Timi Dakolo – The Chorus Leader

The Chorus Leader, Timi Dakolo’s third studio album, arrived in January after a much-anticipated wait, making its mark as one of the first major musical projects by a Nigerian artist in 2024. Following a four year hiatus since his last album, Merry Christmas, Darling, Timi Dakolo unpacks his exceptional songwriting, vocal range, undiluted authenticity, and emotional depth in this personal celebration of a career-long legacy.

Almost as if the economic challenges Nigerians would face in 2024 had been foretold, the album’s opening track, “Omo Ayo,” delivers a message of hope and resilience, setting the tone for an hour long, harmonious and relatable listening experience.

A standout feature of The Chorus Leader is the thoughtful arrangement of its 17 tracks, each contributing to a cohesive and compelling narrative. Staying true to his reputation as a hopeless romantic, Dakolo dedicates a significant portion of the LP to exploring the dynamics of love. Fresh tracks like “Hard Guy,” “This Woman” (featuring Phyno, Falz, Black Geez, and Cobhams Asuquo), “One Day,” “Ke Na Ke So,” and “Anything for You” exemplify this theme.

He did the unusual by listing the previously released singles; “Iyawo Mi,” “Obim,”, “The Vow,” and “Everything (Amen),” to drive the album’s overall narrative and appeal. – Johnson Opeisa 

35. Dotti the Deity – Madam Dearest Pt.1

Following the release of his record “Forever Sweet”, Nigerian singer and songwriter, Dotti the Deity expertly unleashes his artistry on his debut album, Madam Dearest Pt.1. His skill as a sound connoisseur is evident as he navigates highlife, folk music, afro R&B, and afrobeat. On Madam Dearest Pt.1, he projects a love struck romantic, channeling his emotions into the music expertly while demonstrating his impressive artistic range. Notable collaborations with Wizard Chan, Falz, Simi, Reminisce, Etuk Obong, PC Lapez, and Vader the Wildcard enhance the album’s replay value and contribute to its diversity. 

Dotti effortlessly lays his vocals on stand-out tunes like “Sinmilemi”, “Ololufe Mi Owon”, “Carry Me Go” and the fan favourite record, “Forever Sweet”, which features Simi. With the level of artistic brilliance displayed on this album, Dotti steps out from the umbrella of lesser known artists and takes aim at Nigeria’s burgeoning pop scene. On Madam Dearest Pt. 1, Dotti the Deity leaves no room for doubt in regards to his capabilities. – Hope Ibiale

34. Beautiful Nubia & The Roots Renaissance Band – Sónsó 

Beautiful Nubia’s commitment to preserving African cultural heritage is evident in the instrumentation and poetic storytelling that enriches Ṣonṣo, his 20th studio album with The Roots Renaissance Band.

This album builds upon the legacy of their previous work, Hymns of a Hungry World, which highlighted societal inequalities and the hunger for justice and equity. Where Hymns confronted challenges with a mix of urgency and solemnity, Ṣonṣo feels more reflective and grounded in affirming values of peace.

Radiating an inspiring blend of Yoruba folk, African rhythms, and socially conscious lyrics with themes that touch on love, spirituality, and communal harmony, Ṣonṣo continues the band’s tradition of using music as a vehicle for enlightenment and societal healing. – Kolawole Michael

33. Kizz Daniel – TZA

The self-proclaimed ‘singer with no bad songs’, Kizz Daniel’s 2024 EP Thankz Alot (stylized as TZA), aptly lives up to that expectation. The four track project contains songs like “Twe Twe”, “Too Busy To Be Bae” and “Showa”, all of which were chart topping tracks that dominated the airwaves in 2024. Prior to the release of Thankz Alot, in 2023, Kizz Daniel released Maverick which carried hits like “Buga”, “Cough (Odo)” and “Rich Till I Die” alongside collaborations with international artists like Becky G and Not3s.

Although Thankz Alot is an entirely solo EP performed with no collaborations, that did not reduce the global impact the project had nor did it slow down his prolific release schedule. Followed up by a single pack in September, Marhaba x We Must, Kizz Daniel maintained his reputation as one of Nigeria’s undisputed hitmakers. TZA is a testament to the fact that with his voice and his lyrical abilities alone, Kizz Daniel can create songs in multiple genres that are not only enjoyable, but extremely high impact. One of Nigeria’s most consistent charting acts, Kizz’ self-chosen moniker does not stray from its intended meaning: he really might be one of the few African acts with no bad songs. – Angel Nduka-Nwosu

32. Celeste Ojatula – Alo

Nigerian artist, Celeste Ojatula, has a penchant for telling enchanting stories, and her pen is in overdrive on her debut project, Alo. Couched in the warmth of acoustic guitar plucks, mid-tempo drums, and groovy basslines, the music maintains a stripped and minimalist approach, allowing Ojatula’s vocals to command the spotlight with evocative grace. The true brilliance of the EP lies in her ethereal vocals and her ability to channel emotions into each track. Whether she is singing about her unquenchable radiance on “Light” or exploring the repercussions of greed on “Opipi”, Alo is a collection of simple and beautiful music. 

As one immerses themselves in the project, it feels as though the listener is being transported into the world Ojatula creates. Obviously inspired by Yoruba mythology, proverbs, and tales by moonlight, Celeste leans deeply into her cultural heritage and harnesses that energy expertly. Overall, Alo is an impressive body of work distinguished by its culturally rich storytelling, Ojatula’s soothing vocals, and the acoustic production that elevates her vocals and the stories she shares. – Hope Ibiale

31. K.O.G – Don’t Take My Soul

The Ghanaian and Nigerian music industries have never faltered when it comes to collaborations and drawing inspiration from each other’s traditional music backgrounds. With Don’t Take My Soul by Kweku Sackey, a Ghanaian artist resident in the UK, a spotlight is shone on the shared cultural values of the two countries that are the economic and creative powerhouses of West Africa. The 11-track album which is sung in English, Ghanaian Pidgin and Ga, is one that explores themes of identity, spirituality, culture and what community can look like.

An interesting characteristic about the album is the manner in which the sound itself highlights numerous cultures across West Africa. It blends the Ghanaian love for Highlife with percussion and sounds that would appeal to Northern Nigeria and even Francophone African nations like Mali and Senegal. Overall, Don’t Take My Soul is a celebration of what it means to be Ghanaian and West African in an age of increased globalization, a theme that appeals to Nigerians as well. – Angel Nduka-Nwosu

30. Illbliss – Sideh Kai 

Illbliss is a prominent figure in the Nigerian hip-hop scene. If you didn’t know, it was the wings of his Goretti talent management company that prominent acts like Phyno and Chidnma served in their formative years.

Sideh Kai is his seventh studio album, and the pioneer of the hip-hop “Eastern – Igbo Boy Movement” takes listeners on a didactic journey, preaching about individualistic values with himself as the case study. He dedicates the 12th track, “Daughters” to his lovely daughters who are on the cover art, and appreciates his entire family on the following “Maale.” 

“Masterclass” houses the most powerful message, as Illbliss talks about the state of hip-hop in Nigeria, reminiscing to past and present greats of the genre. As a traditional rapper would, Illbliss doesn’t miss the chance to be as braggadocious as possible. On the opener, “Red Caps,” he swings through an energetic drill burst with hard Igbo bars about how able he was as an exec. He employs ODUMODUBLVK on “Full Chest,” and both rappers display their namesake-telepathy with their flow on the track’s bounce. – Favour Overo

29. BOJ – 12 Summers

BOJ’s music has always been characterised by ease and comfort. From the lush production to the sultry lyricism, his discography is littered with records that relax listeners, encouraging them to enjoy every moment in their lives. Also, maybe to hit the dance floor. His latest album, 12 Summers, takes a page from his established playbook except this time, BOJ takes on the role of vibe curator, inviting multiple artists and producers to create a project that feeds the summer-induced need for partying. Featuring collaborators from Nigeria, Ghana, and the UK, he brings together a strong cast whose clear-cut delivery and unique artistry add to the overall quality of the project.

From the album’s opening record, “Koshi” featuring Sainte, to the last record “Bombay”, the feel-good vibes echo through every record, giving the 12-track project a cohesive, tight-knit atmosphere. Even when BOJ and Gyakie deviate from the overall theme to explore heartbreak on “Therapy Session”, the production and the artists’ individual contribution help it fit into the album. 

A winning quality of 12 Summers is BOJ’s ability to insert himself in every record. He doesn’t falter even when the production moves from low-tempo to an upbeat production, as seen in “Jabo”, “Pressure”, or “Go Off”, he maintains his sync with the beat, while  retaining his demure delivery. This is the 2024 album for chopping life, celebrating with friends, and counting one’s blessings. Regardless of the album title, this is a project that transcends summer and should be enjoyed in every season. – Hope Ibiale

28. Jeriq – King

It has been two years since Jeriq the Hustla released his ingenious debut album, Billion Dollar Dream. The trapstar’s music style is narrative-based. Tales of how his father’s early passing forced him to take the role of breadwinner at a young age, the illicit jobs he had to do to pull himself out of the streets of Nkpor, and how his grandiose desire of making a billion dollars keeps him up at night. That was Jeriq, the Hustla. 

On his sophomore album, he introduces listeners to a new persona; Jeriq, the King. Grandiloquent with his rap bars, new tales of how far he has come, and possibly the highly-coveted billion dollars in his bank account. Yes, grind-oriented tracks like  “Mulla On My Medulla,” “Take Risk and Prosper,” and “Rands on Rands” with South African Maglera Doe Boy, Jeriq’s sermon is more triumphant than usual.

On King, Jeriq further explores his prowess as arguably the biggest trap rapper in Nigeria, with impressive flows on foreign, native Igbo, and Afrobeats sounds. The feature list is an absolute hip–hop dreamland with rappers like ODUMODUBLVK, Blaqbonez, Ajebo Hustlers, and British national Knucks. He also employs the talents of Afrobeats singers like Victony and Bella Shmurda for one of the few well-rounded contemporary Nigerian Hip-Hop projects of the year. – Favour Overo

27. Kold AF – Kaution

This year, a lot of promising acts in the African music industry delivered stellar projects. At the top of this list is Kold AF’s Kaution EP.  Kaution stands as a magnificent addition to her discography. What makes this project stand out is her commanding delivery, evident in every track. From the opening record to the last, we experience her unique blend of confidence, resilience, and purpose. 

Across the 17-minute project, Kold’s artistic prowess is evident. Her self-assured delivery in each track highlights her intentionality towards her craft, making the project an engaging listen. With strong A&R guidance, confidence, and a commitment to delivering memorable records, she has set a high bar for herself. The synergy between Kold and her producers further enriches the project, creating a cohesive and enjoyable experience for listeners. With Kaution, she not only cements her place in the industry but firmly places the project in several AOTY lists. – Hope Ibiale

26. Tyla – Tyla + 

You could potentially count a dozen Afrobeats albums bigger than Tyla + from 2024, but it would be a challenge to list any with better sound combinations. The South African singer’s ability to thread other African and foreign genres rather than rely solely on her country’s amapiano is one of her biggest fortes, and on her eponymous debut, she showcases this prowess at the highest level. 

The world saw Tyla apply sensuality to devastating effect on her Grammy winning breakout hit, “Water,” but on “Breathe Me” and “ART,” she takes her amorous approach to the nth degree. “Breathe Me” runs on the most basic afrobeats drums, but the track is loaded with sexual innuendo centered around intimacy with an unnamed partner. On “ART” Tyla proposes her body to her lover, on the condition that they can handle its high value. 

“Jump” with Gunna and Skillibeng is catchy and the fast-paced hook invariably gives every listener goosebumps. Followed by the Tems featured “No. 1,” the perceived imbalance of the Nigerian singer’s measured energy and Tyla’s smooth sail turned out to be an amazing duet, backed by the metronomic background drums. 

The stakes were high for Tyla’s debut album, and it is safe to say she delivered. Brilliantly blending amapiano, afrobeats, R&B, and pop through infectious melodies, sultry vocals, and amazing lyricism, Tyla + is Tyla’s emphatic retort to every naysayer or doubter. – Favour Overo

25. Chike – Son of Chike

Chike’s music has always been a cut above his peers. His debut album, Boo of the Booless, is considered one of Nigeria’s classic R&B albums in recent years. Four years after his debut and two after his sophomore, Chike returned with Son of Chike, a 12-track project that pays homage to his culture and identity, while showcasing his ability to still deliver beautiful love records. On “Man Not God”, a reimagining of Celestine Ukwu’s “Ife Si Na Chi”, he acknowledges the power of God and the weakness of man. On records like “Ego Oyinbo”, “Mma (Beauty)”, and “Apple”, he offers tender melodies that reiterate his expertise in delivering memorable love songs.

When he is not crafting records around love interests or acknowledging a higher power, he encourages listeners to work harder in “One Day”, he sings about heartbreak in “Your Loss”, and ends a toxic relationship in “Not Your Daddy”. Across the album he invites artists like Qing Madi, LADIPOE, Olamide and Amaeya along for the ride with each act delivering standout performances. The project’s lead single “Egwu”, performed alongside the late Mohbad, follows the album opener closely and sets the pace for Son of Chike.  – Hope Ibiale

24. Seun Kuti and Egypt 80 – Heavier Yet (Lays the Crownless Head)

As an artist deeply inspired by the realities of existence and his immediate environment, afrobeats scion Seun Kuti once again delivers a stirring narrative through Heavier Yet (Lays the Crownless Head), alongside his legendary band, Egypt 80.

This marks Kuti’s fifth album with Egypt 80 and his first since 2018’s Black Times. In Heavier Yet, Kuti turns his gaze toward the poor masses and working-class people trapped in the relentless grind of a rigged system. With impassioned lyricism and commanding instrumentals, Kuti and his orchestra champion themes of class consciousness, urging listeners to awaken to societal inequities.

True to the legacy of the Kutis, the album is rich in dynamic, Afrobeat-infused instrumentals. The features stand out as well, with Jamaican icon Damian Marley lending his voice to “Dey” and British-Zambian rapper Sampa the Great electrifying “Emi Aluta.” Together, they complement an overall potent fusion of activism and artistry. – Johnson Opeisa

23. Juls – Peace and Love

It’s easy to fall in love with everything Juls does. The Ghanaian-British producer and DJ has made some seminal contributions to the Afropop paradigm which have revolutionized the genre’s sonic and aesthetic contours. Hence, Peace and Love answers what was already an innocuous inquiry: what it suggests about a generational talent to sculpt a discography that functions as both a self-reflexive commentary and a nuanced interrogation of their own evolving artistic identity.

Peace and Love is an album that distills a decade of influence into a work of rare beauty and intentionality. Juls sharpens this vision into something cohesive, fluid, and resolutely cosmopolitan. Audible throughout the 18-track project are influences of highlife, dancehall, drill, baile funk, and future R&B, handled by a cast of all-Black collaborators — JayO, Ghetts, Masego, Joey Bada$$, Nkosazana Daughter, Tay Iwar, Unknown T, Taves, Victony, Konshens, Odeal, Masego, Mereba, Black Sherif, Falz, Wretch32, and more — who impressively orbit his beats, but it’s what Juls adds of himself to this broth that gives the project its heady tang. The album is not loud, nor is it showy, but it’s earned its place as one of the most compelling listens of the year.  – Melony Akpoghene

22. Phyno – Full Time Job 

“The whole idea is that greatness is a full-time job,” Phyno told OkayAfrica days before the release of Full Time Job, his fifth studio album. “Anyone you see that’s super successful, from musicians to footballers, everyone worked overtime.”

As a veteran musician who has always championed cultural representation, Phyno stays true to his roots on Full Time Job. Three years after his reflective album Something to Live For celebrated his journey from Enugu to the heart of Nigeria’s music scene, his latest project showcases his evolution while remaining grounded in his heritage.

Full Time Job exudes the polish of a contemporary album, blending elements of R&B, rap, and highlife across its 16 tracks. The cultural essence of the Igbo people resonates deeply in tracks like “Nwayo Nwayo” and “Men Don Show Face” featuring Flavour.

Collaborations with U.K. rap heavyweights Chip and ArrDee, as well as contributions from Cheque, Fave, Burna Boy, and NSG Johnny Drille, add richness and make the project well worth the wait. – Johnson Opeisa

21. Fireboy – Adedamola

Adedamola is Fireboy DML’s fourth album in five years, a measure of his work ethic and dedication to a craft that has become increasingly crowded in the same time period. A member of the Afrobeats class of 2019, he has since gone on to perform world tours and collaborate with legendary acts like Justin Timberlake and Madonna, ultimately outstripping his peers. That kind of success can cloud vision and according to listeners, Playboy, was a representation of that uncertainty. 

Adedamola successfully refocuses the YBNL signee by forcing an exploration of all of his influences. From sampling the music of his youth (interpolating Musiliu Haruna Ishola’s “Ise Oluwa Ko Seni Toye” on “Iseoluwa”) to collaborating with the artists responsible for soundtracking the period (“back n forth” featuring Lagbaja), Fireboy ticks boxes off on his musical bucket list. The music is better for it too as outside of the sonic experiments, the songwriting varies slightly from his usual romantic persona and expands into the territory of familial acceptance and the importance of dream chasing. – Abdul-Jabbar Obiagwu

20. FAVE – Dutty Love

FAVE is a musical scientist and, on her sophomore project, she shines not only as a gifted vocalist, but as a versatile creator that can combine Dancehall, R&B, Afrobeats, and Afropop seamlessly. 

The opener is “Dutty Love Song” and it runs over a fusion of Amapiano and Afrobeats instrumentals, with a pulsating electronic music tempo. FAVE is vulnerable on the track, as she sings about a regrettable love experience and her gullibility. 

After the opener, there is a motif of log drums that runs through the rest of the production, and the Big Dutty Girl sails over every cadence and thump effortlessly. Although FAVE starts out heartbroken, by the middle of the project, she is no longer afraid of love as she succumbs to all the affection professed on “Juju.” The romance cycle keeps spinning, and by the time “No Games” comes on, FAVE is defensive. Now aware of how intoxicating love can be, she guards her heart, and declares she doesn’t want to “play no fucking games.”

Dutty Love is seven tracks and 19 minutes long which is enough time for listeners to witness all the dirty, cautious, and encompassing shades love can come in. – Favour Overo

19. BNXN and Ruger – RnB

In one of the biggest twists in Nigeria’s contemporary music history, BNXN and Ruger put their differences aside in 2024 to create a joint EP titled RnB, a reinterpretation of the traditional “rhythm & blues” as “Ruger and BNXN.” Playing into all variants of the nomenclature offered, BNXN and Ruger lean into the romantic undertones that have invariably connected their artistry to produce a project dedicated to their loverman tendencies.

Away from the social media spats that often dominate discussions about them, the duo channeled their reconciliation into a project brimming with chemistry and, to some extent, artistic compromise. At its core, RnB sees both new-generation singers leveraging familiar melodies while showcasing the unique peculiarities of their sounds.

The EP is an exploration of their shared sensual and sexual innuendos, seamlessly blending pseudo-romantic musings with upbeat, party-ready vibes. Tracks like “POE” and “Ilashe” highlight their joint ability to create catchy hooks and capture hedonistic energy, while their individual styles add depth to the seven-track project.

For Ruger, RnB marks his third major project, while BNXN adds a fourth layer of depth to his growing discography. – Johnson Opeisa

18. Odeal – Lustropolis

Odeal’s “Soh-Soh” is currently one of the most recognizable songs on the planet and has been for most of the year. This dominance can be credited to social media as the record became a soundtrack for numerous Instagram stories and TikToks. The captivating track further catapulted the British-Nigerian R&B artist to a broader and more diverse audience. After the success of “Soh-Soh”, some might have expected Odeal to pace his releases and milk his new found popularity. However, he debunked these assumptions with the release of Lustropolis, a relentlessly original R&B led album.  projects released this year. Lustropolis is a collection with sultry records that discuss a range of feelings within the theme of love. Everything that comes with it including heartbreak, emotional unavailability and toxic patterns all get an exposition over songs like “Blame U”, “SHOWBIZ” and “HBTS”.

With the seven track project, Odeal establishes himself as a leading force in the African R&B scene. Throughout the project, he exudes a full mastery of his art as he confidently navigates the different ebbs of his emotion amidst the mid-tempo production. Even when collaborating with Summer Walker — one of America’s most prominent R&B artists — on “You’re Stuck”, he takes the lead by asserting his presence and range. To hold your own next to one of the genre’s biggest stalwarts is no small feat, especially when you look right at home. – Hope Ibiale

17. Young John – Jiggy Forever

Producer turned artist, Young John, cemented his mainstream artistry with the release of his debut album, Jiggy Forever, in 2024. After nearly a decade of producing chart-topping hits that have dominated Nigeria’s airwaves, Young John stepped into the spotlight as a performer with his debut single, “Incase,” in 2020, before following up with the fan-favorite “Dada” in 2021.  

His 2022 five track EP, Love Is Not Enough, offered a glimpse into his artistic evolution before coming all out with the latest 16-track Jiggy Forever. The album builds on a string of successful singles like “Xtracool,” “Aquafina,” “Shaperly,” and “Big Big Things,” all of which are included on the project.  

Predominantly Amapiano-infused, Jiggy Forever leans heavily into party-ready pop beats backed by high-energy production. However, despite contributions from Kizz Daniel, Seyi Vibez, Blaqbonez, Don Jazzy, Sean Paul, and Zlatan, the tracks weren’t spared from the homogeneity one might have hoped the Wicked Producer would avoid. – Johnson Opeisa

16. Blxckie – See You Soon (Deluxe)

South Africa has a tenured history with MCs. Historically, the country has produced more rappers per capita than any other on the continent and that volume is reflected in the quality of rappers that have emerged from the nation. As it is with most dominant genres however, South Africa’s pivot from hip-hop focused records to amapiano infused club ready jams has left the nation’s rap stalwarts in a lurch. All that being said, there are at least three from the current rap class who stand heads and shoulders above the rest and you could argue Blxckie is right at the front of the pack. 

Possessing all the tools of a leading MC, (a strong catalogue, a healthy release schedule and an ear for a hook), Blxckie’s rise has been nothing short of meteoric. Releasing seven projects in a five-year span, his latest installment titled See You Soon received the deluxe package in the same year of release and makes our list for its impressive cohesion, transcendent production quality and global appeal. Stepping outside his usual gamut, Blxckie recruits American production duo Take a Daytrip on “south” and the group deliver a record that redefines the term intercontinental. On album opener “all faxx”, Blxckie is braggadocious and for good reason. He floats over the Here Cut the Lights instrumental expertly and presents POVs rarely seen in modern day rap. That might just be his superpower, the ability to remain relatable while evolving sonically. – Abdul-Jabbar Obiagwu

15. Nasty C and Lekaa Beats – Confuse The Enemy (Reloaded)

Nasty C’s presence in African hip-hop didn’t concretise overnight. The Durban-born rapper spent the better part of the last decade slipping between roles with ease, applying his singularly artistic lens to hip-hop in new ways each time. On Confuse The Enemy, Nigerian producer Lekaa Beats is his accomplice, anchoring the project with sprawling, genre-fracturing production to provide several sonic crevices for a rapper unafraid to stretch the limits of what’s possible. They both wage war against the status quo, expressing a call to arms against the forces of stagnation and creative inertia. The album throws punches in every direction, its sonic palette a crackling but sensuous amalgam of Afrobeats, amapiano, trap, R&B. Opening with “Life of the Party”, a record that places Nasty C within the swelling tides of Amapiano, it shines through its party-ready veneer assisted by Daliwonga, Zee Nxumalo, and Yumbs. Another standout, “Use & Seduce,” sits right at the end of the album, and over snapping percussion and sexy beats, Nanette performs an impressive vocal job. Nasty and Lekaa use their cultural contexts as a springboard to create music that feels cinematic in scope, with each track traversing familiar themes of loyalty, lust, betrayal, growth and self-discovery. – Melony Akpoghene

14. Tay Iwar & Le Mav – GOLD II

The seminal partnership between Nigerian duo, Tay Iwar and Le Mav was formed in 2019 and saw the release of the first installment of the GOLD series. Five years later, the pair re-enter the fray with a powerful and fitting sequel. If the first GOLD album explored familiar landscapes and finished off with a coat of polish, then the second completely rips the deck up and puts a pool in the backyard. Released right at the top of the summer, GOLD II arrived party ready with the pair exploring their interpretations of amapiano, utilizing log drums and upbeat synths. Operating at a faster BPM than we’ve experienced with either artist, the project’s lead single “Feels”, is a powerful fusion of Afrobeats and amapiano and had a strong shout for song of the summer. Thematically, the music is largely the same as on the first installment, revealing a strong sense of continuity that forces listeners into their universe inadvertently.

Tay embodies this sentiment on “Golden Girl”, as he returns to form delivering a wholesome, love song over crisp strings and broad percussion. Closing out with “Trials and Tribulations”, the pair turn reflective and determined. Juxtaposing serious subject matter with an upbeat club ready beat is the type of subversion that earmarks Le Mav’s production. Marked by pacy drums, subtle bells and Tay’s vocal manipulations, the record is a fitting closer that reminds us all just how good this pair can be. – Abdul-Jabbar Obiagwu

13. Victony – Stubborn

Victony is not the only one in his current sphere or even on the Nigerian music scene who is capable of occupying the same space in tandem with his influences as a monolith of personal observation and stray observations, but he’s uniquely brilliant at it. The command of his voice and words is astonishing, which is saying a lot given the current grounds of African music. You wouldn’t think an artist could compress the complexities of identity, vulnerability, and resilience into a cohesive and affecting work, but the young talent did just that on his impressive debut album, Stubborn. On this outing, Victony sinks deeper into what makes him great, succinctly conveying worldviews with hairpin turns and illustrative detail.

The sonic cohesiveness of the project’s overall production, mostly helmed by his longtime collaborator Kzito, qualifies it as one of the top albums of 2024. The feature choices of Asake, Saint JHN, Shallipopi, Shorae Moore, and Teezo Touchdown, enhanced the lyrical and performance dynamism, making it a rich exploration of different sounds and deliveries, appealing to a global audience.

Victony’s penmanship has been one of the strong points of his artistry and on Stubborn he deploys it with full force. His moving songwriting skills is particularly evident in tracks like “Risk,” “Stubborn,” “Sunday School,” and “Pier 46”. – Hope Ibiale

12. Ayo Maff – MAFFIAN

Ayo Maff was arguably the Best Young Player of the 2024 season, and his debut E.P, MAFFIAN, justifies the hype. Following the success of his hit track “Dealer,” with Fireboy DML, this release is an interlace of emotion, rebellion, hustle, and life.

The seven-track solo project is opened with “A Beautiful Song” on which the atypical street artist mellifluously confesses his affection to a love interest. Ayo Maff does not usually operate on this level of tenderness, and even he knows it; “Ki n to pade Joromi, I be omo oro/ I be gangster, I no be lover boy.”

Life forced the 18-year-old to take up the role as head of the family a couple of decades earlier than usual, and as the album progresses, his old soul can be perceived from his lyrics. On “Are You There?” he sings, “I’ve been here before I was born.”

Nevertheless, the drums, shakers, and occasional percussion were brilliant and catchy enough to drift your focus from the deep messages he conveys. So, you either come for the sermon or the production. Both might be too enchanting to handle simultaneously. As debuts go, MAFFIAN is of high standards. Based on his trajectory, it is certain he won’t be remembered only as a rookie. Ayo Maff might be the next big star to put Bariga on the map (again). – Favour Overo

11. Llona – Homeless

Llona’s introduction to his deeply personal debut album, Homeless, is as haunting as his persona is complex. Opening with bars like “I’ve seen people falling on my way up, sometimes I lost it but I stayed tough, (When I’m) runnin’ and runnin’ like a stray dog, death is the only thing that saves us,” on Homeless’ first track, “Still Scared”, Llona’s flair for the dramatic comes readymade.

Born Michael Ajumah and hailing from Kogi State, Llona crafts a touching narrative that reflects his struggles with loneliness, poverty, and identity. Spanning 12 tracks, Homeless intertwines themes of resilience and longing with a kinfolk-centric perspective. Songs like “Another Day” tell the struggles of Nigerian youth facing an existential crisis, while “Stranger” offers a gut-wrenching account of fatherly absence. Collaborations with Bella Shmurda (“HBP”) and Fave (“Cold War”) add emotional depth, amplifying Llona’s messages of survival and introspection.

Llona’s ability to transform his pain into art is mesmerizing. The album is a sonic journey through heartbreak and hope, blending Afrobeat elements with soul-baring storytelling. Homelessness is more than music — it’s a documentary about Llona’s troubled life. – Kolawole Michael

10. Wizard Chan – Time Traveller

Wizard Chan’s Time Traveller earns its place on this list due to its striking uniqueness, which sticks out like very few releases this year. I’ll go as far as saying it is unlike anything else heard this year, boldly carving its own space as a masterful sonic delivery that doesn’t falter in its rarity. Leaning into it is what makes it shine. From the opening record, “Big Masquerade (Opu Owu)”, to the last record, “Journey”, Chan takes listeners on a spiritual journey that will surely connect with everyone who listens closely. 

On the seven track project, Chan expertly combines reggae with traditional Ijaw music. The featured artists never stray far from these dominant sounds, leading to the production of a cohesive project. The project oscillates between personal struggle and triumph to familial bond and culture acceptance, all which resonate with everyday listeners and (ironically) provide an escape from the escapism other Afrobeats projects offer. The introspective nature of Time Traveller allows listeners to pause and reflect while Chan’s voice elevates their emotions. Aside from being on the list of the best albums released this year, the musicality of this project will eventually propel it to be among one of Nigeria’s classic albums. – Hope Ibiale

9. Show Dem Camp, The Cavemen, Nsikak — No Love In Lagos

For their joint album, No Love In Lagos, Show Dem Camp and The Cavemen build on the legacies of both groups. SDC’s Palmwine Music series introduced laid-back, reflective vibes, while The Cavemen’s Roots and Love and Highlife revitalized traditional sounds. Together, they’ve created a timeless piece of music that feels as personal as it does universal.

The album is a poetic, genre-bending and hard-hitting narrative on the loss of love in all its form factors, especially as it relates to metropolis’. From reflective tracks like “Blessings,” where prayers meet gratitude, to the upbeat, cautionary rhythms of “Johni,” the album serves as both a guide and a cautionary tale. It seamlessly shifts between afro-fusion and highlife, creating an emotional journey packed with introspection and cultural homage.

Blending SDC’s lyrical mastery with The Cavemen’s soulful highlife melodies, the 10-track project explores the chaotic romance and harsh realities of Lagos life. Guitarist Nsikak David provides intricate layers of sound that elevate the experience, while features from artists like Obongjayar, Moelogo, and Tim Lyre enhance the storytelling. – Kolawole Michael

8. Okwy Osadebe – Ifunanya

The past decade has seen a rise in musical artists who are dedicated to bringing Igbo culture to the mainstream. Artists like The Cavemen, Umu Obiligbo, Ejyk Nwamba, Ifé and Ugoccie represent a new crop of artists who not only document what it means to be Igbo, but do this across genres like hip-hop, R&B, soul, amapiano and highlife. Okwy Osadebe’s album Ifunanya follows in this same tradition of artists using Igbo to highlight the Eastern Nigerian experience. Following the international acclaim of his debut album, Igbo Amaka, the seven track album released mid-2024, was made in collaboration with The Highlife Soundmakers International and explores the highlife genre that is a trademark of traditional Igbo music. What is remarkable about this album is that while it successfully merges highlife with more contemporary sounds, it still firmly conjures a throwback and reminds lovers of highlife of past veterans like Oliver de Coque and Nelly Uchendu. Following closely in his legendary father’s footsteps, Okwy Osadebe harnesses every part of highlife’s storied history and updates the genre’s canon definitively. 

The titular track, “Ifunanya”, translates to “loving someone” in English, a sentiment thematically embedded into the project, elevating from more than just a collection of songs into an nascent exploration of the true, unadulterated essence of love.

Heralded by audacious bass lines, interpretative percussion and powerful horn/saxophone infusions, Okwy Osadebe’s production chops alongside the Highlife Soundmakers International’s instrumentation creates rich and compelling rhythms across the albums 50 minute runtime. Expertly capturing the essence that made highlife the leading genre on the continent in the 20th century, Okwy’s cool emerges stronger on his sophomore album and provides much needed representation for the genre and the region. – Angel Nduka-Nwosu

7. TAR1Q – Okada Airlines

In an era of new acts delivering impressive projects, Chocolate Music signee TAR1Q’s third EP, Okada Airlines takes a spot on our list for its exceptional production chops, relatable storytelling, and evocative vocals. Inspired by the actual airline station he was born in and his nomadic experience as a child, the project is an autobiography of TAR1Q’s life. On “Italy”, he sings about his auntie’s eventful migrant journey to South Europe. On other records like “Livin Soul” — where he interpolates Zule Zoo’s 2005 breakout hit, “Kerewa” — he sings about his relationship struggles, while on “Bus Stop”, he declares his undying affection for his love interest.

With Okada Airlines, he presents a wholesome project that explores afropop/R&B, soul, and Afrobeats while showcasing his vocal range as well as his innate ability to shine across multiple genres. Even when he delves into different experiences and themes on the project, nothing ever feels out of place or disingenuous. His latest showing has also heightened expectations for his debut album that we hope he can surpass. – Hope Ibiale

6. Anaïs Cardot – Pink Magnolia

Anaïs Cardot’s debut EP, Pink Magnolia, draws metaphorical parallels to the blooming magnolia flower, symbolizing vulnerability and beauty after growth. With acclaim from tastemakers like Masego and PJ Morton, Cardot’s talent is firmly on a path to stardom.

Born with arthrogryposis, Cardot’s journey is as inspiring as her music. She has defied the odds not only through her artistry but also through her global impact, performing in venues from Ottawa to Johannesburg.

Pink Magnolia is a lush, introspective EP that captures the essence of self-discovery and emotional growth. Drawing from her multicultural background and fluency in English, French, Spanish, and Portuguese, Cardot creates a sonic adventure that blends dreamlike melodies with introspective themes of heartbreak, mental rigour, and self-love. Each track, from the haunting “Purple Room” to the multilingual “Can’t Explain,” is imbued with her unique ability to evoke raw emotion through rich harmonies and layered production. – Kolawole Michael

5. Wizkid – Morayo

Named after his late mother, who passed away in 2023, Wizkid’s Morayo was generally expected to be steeped in grief and sorrow, but Wizkid chose a different path. Instead of wallowing in his righteous pain, he turned to music to channel his emotions, celebrating his mother’s life and the famous lessons she so dearly imparted to him. 

The album reflects Wizkid’s musical versatility but falls short of conceptual cohesion. Though enriched by experimentation it falters at thematic unity, Wizkid’s growth is evident, but his overambition to combine chill R&B with his Afrobeats roots almost strays the album. What Morayo does lack in thematic cohesion, it more than makes up for sonically. Traditional Yoruba influences impeccably blend with contemporary afrobeats and R&B, creating an aurally eclectic album. This is glaring on songs like “Kese (Dance)” and “Bad For You”, which demonstrate Wizkid’s ability to create upbeat songs as well as above decent ballads. For any aforementioned failings, Morayo manages to tie together Wizkid’s unlikely trilogy that began with 2020’s Made in Lagos. Rather than crafting an album weighed down by sadness, Wizkid focused on themes of love, connection, and adaptability, blending them into songs that uplift and inspire. – Kolawole Michael

4. Asake – Lungu Boy

Asake is just a guy who’s determined to be the coolest version of himself — one who can sell out some of the largest indoor arenas in the world while still sampling Fuji riffs that recall Nigeria’s interesting musical heritage, but most importantly, one who can skate! Lungu Boy feels like the natural next step for an artist such as he who is straddling the dual imperatives of growth and identity. Greatness demands reinvention, and Asake knows this well. Across the album’s tracklist, the superstar toggles between his Fuji-inflected roots and his global ambitions with the agility of an artist who knows exactly where he stands in the Afrobeats hierarchy. On “Mentally,” he fuses a plaintive hook with percussive flourishes that recall the emotive heft of street jams; on “Wave,” he experiments with bass-heavy arrangements; and with “Fuji Vibe,” he reclaims his unadulterated artistic identity.

It’s clear that Lungu Boy wants to push itself to the top of Asake’s catalog — a herculean task, given that his debut is already canonised as a modern classic. And while it delivers iconic moments (the undeniable bounce of “Uhh Yeah” or the magnetism of “Active”), the album is not as heavy-footed as intended.

But to dismiss Lungu Boy as a misstep is to miss the point. If the album sacrifices some cohesion for daring, it’s proof of an artist unafraid to evolve, even at the risk of imperfection. – Melony Akpoghene 

3. Tems – Born in the Wild

Tems’ ascent always made her an outlier. Circumventing Nigerian music industry politics and hierarchies is one thing, but to do so with music that decidedly did not directly appeal to the large audience’s sensibilities while subversively converting them into your own funnel will one day be a case study for marketing MBA programs worldwide. For early adopters however, none of this feels surprising or out of place. In fact, Tems hasn’t changed much in three years. A tested approach of sparse features and self-production have earmarked her discography thus far, a trait that emerges again on Born in the Wild. In an era where EP and album are interchangeably used, invariably leading to debates around what was a debut or what was a sophomore, Tems’ latest (Grammy-nominated) effort is the definition of a world beater. 

In her young accolade laden career that includes features/collaborations with global icons Drake, Wizkid, Future, Rihanna and Justin Bieber, one thing that is a clear propellant for her success is her end to end musical approach. Influencing everything from the lyrics to the production to the actual performance itself is a unique triple threat not many artists wield. In fact every triple threat of note (think Pharrel Williams, Kanye West, The-Dream) has gone on to be cemented in the annals of music history as a great, also another potential future that does not seem out of place for Tems. 

Now to the music, which was unsurprisingly transcendent. Tems’ brand of mature songwriting buoyed by whatever sonic guidelines she chooses to follow at the moment. Born in the Wild varied between R&B on “Unfortunate”, “Boy O Boy” and “Burning”, before pivoting into Caribbean influenced sounds on “Free Fall” and “Turn Me Up”. The production value is world class and credited largely to Tems, Sarz and P2J. Forcing your audience to pay attention is often applauded when/if it pays off as persistence. Perhaps the better approach is Tems’: ignore them till they have to pay attention to you.

2. Ayra Starr – The Year I Turned 21 

Nothing this year captured the mercurial essence of young stardom like Ayra Starr’s tour-de-force, The Year I Turned 21. A vivacious yet somber coming-of-age record, it dissects the uneasy intersection of fame, freedom, grief, and fragility.

Ayra Starr engages the project to express the thrill of being young and unstoppable. On this outing, she is a diarist of love, ambition, and self-discovery. When she’s not challenging societal norms, she’s celebrating girl power on tracks like “Woman Commando”, exploring the complexities of womanhood with a rare poetic clarity. 

Starr understands that staying relevant means challenging herself, and here she pushes her Afropop sound into exhilarating new directions. The album, from its opening moment — a heralding praise singer on “Birds Sing of Money” — to the deeply moving “The Kids Are Alright”, asserts her place as one of the most versatile and fearless voices of her generation. She’s evolved, and her confidence seeps into every pore of the project. Even though the album is the sound of dreams crystallizing, it feels more like a beginning than an end; there’s a hunger that still propels her forward: more, always more. And with her formidable talent, the trajectory ahead promises nothing short of greatness. – Melony Akpoghene 

1. Rema – HEIS

Novel. Mystical. Special. Since Rema’s 2019 star turn, “Dumebi,” the singer’s creativity and mastery in his art has elevated non-stop, with new turns, twists, alterations, and changes notable every single time he releases music. Regardless, he has always channeled his heavily romantic persona in his music, whether with his sweet-tongued professions, the most opulent promises, or his very naughty and raunchy lyrics. 

On his sophomore album, HEIS, the teddy bear-clutching Rema is substituted for a fiercer being. This new Rema is a commandant. The album opens with “MARCH AM,” a pacy announcement of his arrival. He loads himself with praises and exaltations of hard he has his foot on the pedestal of both his Lamborghini Urus and the industry. On “HEHEHE,” he relays his ill intentions for the haters; “anybody talk anyhow dem go injure,” and a boastful reminder of why he shouldn’t be messed with. This soon became a motif for the rest of the project.

After the upbeat “YAYO” and the Shallipoppi’s aided “BENIN BOYS,” an anthem dedicated to their state of origin, the album reaches its climax. “HEIS” is a chanting ritual. The drums lag to give room for the Swahili-harmonized chorus and electric bumps from the background. The pace is feverish across the entire 27-minute runtime but things kick into high gear with the album’s hit “OZEBA,” and the ODUMODUBLVK-featured “WAR MACHINE,” where Rema matches ODUMODU’s grit expertly. On the final track, “NOW I KNOW,” he is reflective, and sings about trust and support. 

Led by the impeccable P.Prime, the album’s production left nothing to be desired. Loaded with an array of fusions to empower his newly pioneered Afrorave genre, Rema’s HEIS isn’t just an album. Taking the bigger picture into account, it is a transformation that will affect the Nigerian music scene for years to come. – Favour Overo