The 50 Best Afrobeats Songs of All Time: Full Staff List

To put it simply, Weird MC was radical. She strode onto the scene with baggy pants, a shaved head and a hip-hop-inspired bravado – incredibly novel for women who were already the minority in Nigerian music. On the Don Jazzy and JJC Skillz-produced “Ijoya,” she proved herself to be ahead of her time not only where aesthetics were concerned, but also in craft. Her slick Yoruba lyricism and rapid-fire delivery, accentuated now and again by talking drums, make “Ijoya” an ageless dance hit, while the song’s inventive visuals made her the first-ever Afrobeats artist to release an animated music video. – BLOSSOM MADUAFOKWA 

Soulfully tinged with R&B tendencies, Nonso Amandi’s breakout hit “Tonight” bathes in an array of genres and thus articulates the breadth and depth of Afrobeats in the middle of the 2010s. The song not only helped spearhead Afro-R&B — a pocket in which artists like Tems comfortably sit today — but also builds on the act of yearning, which Afrobeats is well known for. It adds to the canon of male Afrobeats acts shedding their ego and leaning into vulnerability. And with “Tonight,” the Nigeria-born, Canada-based singer scored a top 10 on Nigeria’s now-defunct Playdata airplay chart. – NICOLAS-TYRELL SCOTT 

There is no Afrobeats without the conscious music of its earliest stars like Timaya. On his 2005 breakout single “Dem Mama,” the Port Harcourt-born singer decried the heavy-handedness of the Nigerian government and its armed forces. Specifically referencing the 1999 massacre in his hometown, Odi, located in Bayelsa State, he wove a haunting tale of the military’s brutal attack that cost 30 lives. Critiquing a democracy that was in its infancy, just as Afrobeats was taking form, “Dem Mama” was both an unflinching portrait of its time and a social justice anthem to rally around. – WALE OLOWOREKENDE 

Long before Afrobeats fully emerged in the early 2000s, indigenous genres like fuji, apala and highlife inspired Nigerian music. “Raise Da Roof” paid homage to that sonic lineage by melding hip-hop and fuji for a futuristic take on Afrobeats, crafting a seminal hit that’s still a party favorite to this day. OJB Jezreel’s skittering production and the synergy between Jazzman Olofin and fuji icon Adewale Ayuba gives the song a playful edge that has provided a template for the future takeover of the genre by fuji-adjacent stars like Asake and Seyi Vibez. – W. OLOWOREKENDE 

“Soweto” emerged as a semi-sleeper hit from Victony’s 2022 EP Outlaw. Masterminded by the ever-talented Tempoe, “Soweto” is led by an addictive guitar riff and Victony’s suggestive pen. The song eventually blew up on social media with smooth TikTok dance challenges and resulted in a four-week No. 1 stint on the UK Afrobeats chart, and a top 10 entry on the U.S. Afrobeats Songs and TurnTable Top 50 (which has since rebranded as the Official Nigeria Top 100), thanks to remixes with Don Toliver and Rema as well as Omah Lay. – B.M. 

With minimal institutional support accessible in the early days of Afrobeats, fraudsters – or “yahoo boys,” as Nigerians affectionately call them – were a critical source of much-needed cash. While Olu “maintains” that the song is simply about a young talent coming into money after securing a lucrative music deal, its lyrics – and Afrobeats history – suggest a naughtier reality. Even as the track’s true meaning remains a matter of debate, its impact doesn’t: “Yahooze” and its corresponding dance craze are just as capable of turning any Afrobeats party on its head as they did in their glory days. – B.M. 

Hip-hop is undoubtedly an integral part of Afrobeats’ DNA, and no label underscored its importance better than Chocolate City. Following the early-2000s success of brothers M.I Abaga and Jesse Jagz, Ice Prince was touted as a star-in-waiting after a series of features and singles as part of the label’s much-vaunted supergroup, The Choc Boiz. Released in June 2010, “Oleku” was the coronation of a new rap monarch: Featuring an all-timer chorus from fellow Choc City star Brymo and lithe bars from Ice Prince, “Oleku” exploded across Nigeria and became one of the country’s most remixed songs. – W. OLOWOREKENDE 

Since breaking into the Afrobeats scene in 2014 with “Woju,” Kizz Daniel has proven his talents pass the tests of time on multiple occasions. Nearly a decade after “Woju,” Kizz Daniel came roaring back with the Tekno-assisted “Buga,” making Afrobeats lovers around the world get up on their feet and dance the day and night away. It became the most Shazam’d song in the world two weeks after its release in 2022 and took over social media with a dance challenge, while later establishing itself as a top contender for that year’s Afrobeats song of the summer. – WONGO OKON 

The Cameroonian American singer-songwriter pours her raw melancholy and a stirring melodic blend of Afrobeats and R&B into her sobering breakout hit “People.” The forthright opening lines serve as a wake-up call for those who can’t see what their friends are really facing, as Libianca’s lithe vocals shed light on the effects of mental health on personal relationships. With remixes featuring Ayra Starr and Omah Lay, Becky G and Cian Ducrot, “People” hit No. 1 on the UK Afrobeats chart and reached No. 80 on the Hot 100.  – HERAN MAMO

By the time Asake released “Peace Be Unto You (PBUY)” in June 2022, he had completed a brazen takeover of Afrobeats, sealing the most unprecedented breakout year in the genre’s history. Built around his signature fusion of amapiano log drums and stacked vocals, “Peace Be Unto You (PBUY)” signaled the rising appeal of the Afrobeats subgenre, street-pop, as a global force to be reckoned with. Performed in a spirited blend of Yoruba, English and Pidgin, the song draws inspiration from Asake’s experiences growing up on Lagos Island, while paying homage to the religious undertones that shaped the origin of Afrobeats. – W. OLOWOREKENDE 

Davido taps South African musician Musa Keys to get the party started with his “Unavailable” hit from the former’s remarkable album Timeless. Davido declares a chant-worthy hook about living rent free in his detractors’ minds, while producers Magicsticks and Rage concoct a top-notch, cross-continental fusion of Afrobeats and amapiano. And its viral TikTok dance craze, which Rihanna, Quavo, Chris Brown and more have contributed to, boosted the song’s global acclaim. “Unavailable” earned Davido his first No. 1 on the U.K. Afrobeats chart and a Grammy nomination in the best African music performance category. – H.M. 

Like a phoenix rising from the ashes, Skales’ dance hit “Shake Body” found its way back into the mainstream earlier this year, all thanks to Spanish football player Lamine Yamal and his fateful post-match TikTok dance video. While Yamal’s dance challenge certainly breathed new life into the hit – and even prompted a new Spanish remix – “Shake Body” lived quite a robust life upon its release 10 years ago. With unrelenting drums, addictive dance breaks and boastful lyrics, the track was an electric breakout that will undoubtedly continue to prove its timelessness. – B.M. 

Lojay cranks up his charm and Sarz turns up the vibes on the swoon-worthy “Monalisa.” The Afrofusion sensation sings the praises of a woman he refers to as “omalicha” and “orekelewa” (meaning “beauty” in Igbo and Yoruba, respectively), while the Afrobeats superproducer paints “Monalisa” with amapiano’s rollicking log drums and sizzling shakers. And the seamless remix with Afrobeats crossover connoisseur Chris Brown boosted the song’s international profile, dominating airwaves at home and overseas. “Monalisa” earned nominations for song of the year, best Afrobeats single of the year and Headies’ viewer’s choice at The Headies in 2022. – H.M. 

Arriving near the end of the COVID-19 lockdowns, Oxlade’s “Ku Lo Sa” provided the balm needed for a healing generation in search of intimacy and meaning with its endearing and soulful calls for affection. The track garnered international acclaim (particularly in America, following its viral COLORS performance) and eventually scored a Camila Cabello remix. Though the original solo version unequivocally remains the superior of the two, the remix — much like the Selena Gomez-added version of Rema’s “Calm Down” that same year — articulated just how far Afrobeats had grown in consumption beyond the West African diaspora in the U.S. – N.S. 

Maleek Berry had the summer of 2016 on lock with his balmy dancefloor filler “Kontrol.” The British Nigerian vocalist/producer flits between Jamaican patois, Yoruba, Ghanaian twi and Pidgin when recalling a headstrong girl who wants to take the lead. But he later summons all the African, London and Caribbean girls to whine their waists to the track’s irresistible Afropop production that’ll make “you wan’ make love to the bassline,” Berry sings on the BRIT silver-certified smash. – H.M.

Tekno’s sound was inescapable between 2016 and 2017. The Nigerian singer/producer was behind the boards on Davido’s 2017 smash “If,” but Tekno had a hit of his own the year prior with “Pana.” The song’s success earned Tekno a record deal with Columbia, further proof of Afrobeats’ growing presence in the American music industry. Tekno wasn’t to be mistaken as a one-hit wonder, since he’d already made a splash with 2015’s “Duro,” and was later featured on “Don’t Jealous Me” (from Beyoncé’s 2019 The Lion King: The Gift soundtrack) as well as the aforementioned “Buga” with Kizz Daniel in 2022. – W. OKON 

You could spend all day arguing what P-Square’s best record is, and you’d be lost somewhere between an argument of popularity and commercial success vs. one of quality and artistic strength. A record that sits comfortably on both sides of that argument is “Personally,” from the group’s sixth album Double Trouble. Released as a single in 2013, “Personally” extended a decade-long run from the duo — who played a huge part in introducing the U.S., the U.K. and other markets to the beauty of African music. So let the arguments continue, but what’s indisputable is the group’s impact. – W. OKON 

Initially recorded against the backdrop of a bitter contractual dispute with Runtown’s former record label, Eric Manny Entertainment, “Mad Over You” went on to become the biggest song of his career. Built around beguiling guitar riffs and an unassuming percussive base, the singer delivers a classic Afrobeats love anthem that unabashedly reiterates his dedication to a romantic interest. The release of “Mad Over You” also coincided with a sonic revolution in Afrobeats, as elements of Ghanaian highlife became an integral part of the genre, providing thematic and sonic inspiration for the song. – W. OLOWOREKENDE 

Don Jazzy’s Mavin Records plays a huge role in today’s Afrobeats scene, as it’s home to stars like Rema and Ayra Starr. But before its current era, Mavin was home to the likes of Tiwa Savage, Reekado Banks and Kordello Bello — who, along with fellow labelmates Dr SID, Di’Ja and D’Prince (as well as Don Jazzy himself), joined forces for “Dorobucci.” The song was an instant success, winning best pop single at The Headies in 2014 and song of the year at the 2015 MTV Africa Music Awards, while helping establish Mavin as a force to be reckoned with. – W. OKON 

Ayra Starr asserts she’s destined for star(r)dom, and validates it with “Rush.” Following her bold Afropop hit “Bloody Samaritan” – which became the first solo song by a female artist to hit No. 1 on the Official Nigeria Top 100 – the Sabi Girl confidently sings about being unstoppable due to her hustle and divine source, with the memorable “E dey rush” hook (meaning her “cup runneth over”) confirming her journey to the top is just beginning. And the anthemic production complements the song’s powerful message. “Rush” earned Starr her first-ever Grammy nomination for best African music performance in 2024. – H.M.

Nothing invokes nostalgia for early modern Afrobeats quite like the Zanku era. Defined by legs levitating mid-gbese (meaning “move your legs” in Yoruba) and handkerchiefs waving in the air, it marked what was arguably the last great moment in mainstream Nigerian dance culture. And “Killin Dem,” released as a single from Burna Boy’s 2019 album African Giant, punctuated this epoch perfectly. Nigeria’s then-street-hop prince Zlatan, equipped with his viral Zanku dance (an acronym for Zlatan Abeg No Kill Us), and leading Afro-fusion figure Burna Boy formed a duo that united all sides of the scene behind this indisputable street anthem. –  B.M.

No one is stopping these Ghanaian genre-bending artists from getting the bag on the slinky Afropop anthem for independent women, “Sad Girlz Luv Money.” Amaarae’s subdued, siren-like vocals emphasize her pursuit, while MOLIY gingerly demands “Get the f—k out of my way” as she makes her way to the dance floor and lets the song’s whimsical synths take over her. Colombian American singer Kali Uchis’ aphrodisiacal verse is the cherry on top of the viral remix that crossed linguistic and cultural borders and catapulted the song into the global spotlight and onto the Global 200, peaking at No. 26. – H.M.  

Fireboy DML touts his new adventures on the carefree, percussive earworm “Peru.” He references fellow Nigerian singer Peruzzi, not the South American country. But “Peru” found Fireboy in different parts of the world he’d never explored before, like San Francisco, where he was “jamming” during his first-ever U.S. trip. And the mellifluous, Yoruba-infused assist from Ed Sheeran on the remix stamped it as a global smash, reaching No. 53 on the Hot 100 and spending 22 consecutive weeks in the top 10 of the UK Singles chart, tying Sheeran’s solo hits “Bad Habits” and “Shape of You.” – H.M. 

Afrobeats as a whole — and more specifically, Afropop — is a great driver for party music. It’s what helped the genre become beloved worldwide. Wande Coal and DJ Tunez’s “Iskaba” couldn’t be a better example of not just a party anthem, but a record known by people who are relatively unfamiliar with Afrobeats. Language barriers be damned, Africans and non-Africans alike will shout “Oh, my darling!” before chanting “Iskaba, Iskele bete, Iskolo boto” in the chorus, without knowing its meaning. But as Wande Coal says, “We just wanna party.” And with a song like this, that’s all that matters. – W. OKON 

Mr. Eazi’s “Skin Tight” presided over every rave, hall and house party following its release in 2015 and played a quintessential role in the genre’s growth and eventual dominance in the 2010s. It’s laced with intimacy, the pulse of its opening keyboard sequence indicative of the gravitas behind his and Efya’s proclamations. And he embodies the lover boy brand similar to that of his close collaborator Wizkid. Helmed by the now juggernaut producer Juls, the midtempo track perfectly represents the sultry, romantic side of Afrobeats, evoking similar emotions to that of R&B. – N.S. 

If you want to understand how and why Wizkid became the superstar he is today, you have to start with his 2011 debut album, coincidentally titled Superstar. The project established him as an undeniable hitmaker, thanks to records like “Don’t Dull,” “Holla at Your Boy,” and, of course, “Pakurumo.” The lattermost record became the most recognizable hit from Superstar, as Wizkid crafted a wonderful Afropop record backed by fuji’s talking drum. It’s no surprise that Wizkid grew to become one of Afrobeats’ best artists, as he’s proved time and time again over the decade that followed. – W. OKON 

Having already made inroads with a late millennial audience with songs like 2015’s “Bae,” British Ivorian DJ/artist Afro B doubled down on his growing momentum and crafted this instantly warm and evocative smash that figuratively honors his native football idol Didier Drogba in his proclamations of love. After initially finding success on his home turf, the song hit a cross-pollination of demographics Stateside via the viral Drogba Challenge. “Drogba” represents the migration of Afrobeats at the turn of a decade and the rise of Afrowave, a U.K. derivate of the genre that fuses Afrobeats with hip-hop, dancehall and more. – N.S.  

Although he started as a rapper, Olamide became one of Afrobeats’ biggest stars by the mid-2010s thanks to an oeuvre stacked with genre-resetting pop hits that distilled the style, perspectives and culture of inner-city Lagos into unavoidable bangers. In 2015, only one objective remained seemingly out of reach: scoring a hit with a popular dance routine. He effortlessly achieved that with “Bobo,” the supercharged, Young Jonn-produced track that referenced his drive while reinforcing the international reach of his sound. The song also introduced the Shakiti Bobo dance that took over Afrobeats for the better part of the following year. – W. OLOWOREKENDE 

Burna Boy served the 2022 song of the summer and an international breakup anthem on a silver platter with “Last Last.” He chases the pain away with the intoxicating, belt-able hook “I need Igbo and Shayo” (meaning “weed and liquor” in Yoruba), while the sample of Toni Braxton’s 2000 hit “He Wasn’t Man Enough” (courtesy of producer Chopstix) adds a dash of nostalgia to the instant party starter and festival favorite. “Last Last” is the longest-charting No. 1 on the UK Afrobeats chart with 13 consecutive weeks, and it earned platinum certification from the Recording Industry Association of America. – H.M. 

Tiwa Savage and Don Jazzy’s “Eminando,” from her 2013 debut album Once Upon a Time, featured an enigmatic meld of traditional production and a then-contemporary sass. Fearlessly infatuated, Savage is every bit the leading lady, while Don Jazzy anchors the single with a familiar brand of camaraderie, offering up typical gestures of money and lifestyle advancements. Savage performed “Eminado” at the Music Around the Globe event during the 2014 BET Experience, further proof that the track helped propel Afrobeats to global dominance at a time when the genre was still emerging to many Western eyes and ears. – N.S. 

Standing at the vanguard of indigenous hip-hop in Nigeria, Phyno and Olamide struck up a relationship that united the Western and Eastern rap cultures in the country, and provided a long list of memorable hits. On “Fada Fada,” the duo team up for a rags-to-riches epic that show their appreciation to a supreme being for divinely orchestrating their steps. For four minutes and 49 seconds, Phyno and Olamide run through a list of wins atop a dense polyrhythmic instrumental produced by Masterkraft. – W. OLOWOREKENDE 

Sarkodie remains one of the most powerful voices in African hip-hop, as his imaginative flows have successfully pushed the Ghanaian sound outside its borders. By the time “Adonai” dropped in 2014 – the same year he scored a win at the MTV Africa Music Awards, and a nod at the BET Awards – it only made sense to celebrate his accomplishments. “Adonai” is a soulful testament to his abundant blessings and a proclamation that no enemy formed against him shall prosper. With a hook from hiplife crooner Castro, it still manages to imbue listeners with an indescribable sense of gratitude and hope. – B.M. 

Crafted with authentic innocence and a euphoric call to dance, “Azonto” was primed for a new era of Afrobeats that dominated London clubs filled with coming-of-age Black Brits. British Ghanaian musician Fuse ODG and fellow Ghanaian artist Itz Tiffany engineer a progressive uptempo groove that expanded what Afrobeats can be. Artists like Fuse ODG helped modernize the canon and contextualized its ascendancy in real time, as the diaspora fused the sound with British influences. Reaching No. 30 on the UK Singles chart, “Azonto” also scored a remix featuring dancehall guard Elephant Man, demonstrating its international appeal. – N.S. 

Renowned label Mo’Hits Records played an integral role in Afrobeats throughout the 2000s, and signee Wande Coal emerged as one of the genre’s powerhouse vocalists. While his contributions to Mo’Hits’ 2007 compilation album Curriculum Vitae projected him as a star, “Bumper to Bumper” launched him into a different stratosphere. A retelling of his blistering rise from obscurity in the Lagos suburb of Mushin to the forefront of Nigerian music, “Bumper to Bumper” finds Wande Coal luxuriating in his good fortunes, and invites loved ones to join him for a ride around town. – W. OLOWOREKENDE 

D’Banj was the barometer for worldwide success in the early 2010s. He signed to Ye’s (formerly Kanye West) GOOD Music label in 2011, which was the result of his success on the African continent with massive hits like “Fall in Love.” A fine display of Afropop and early Afrobeats, D’Banj’s 2008 single perfectly captures the spirit of African music – using the sound to celebrate the good days and forget the bad ones. Nearly two decades later, “Fall in Love” remains incredibly popular among Afrobeats lovers, especially at weddings. – W. OKON 

Yemi Alade epitomizes Pan-African pop stardom, from Beyoncé’s team reaching out to her for a collaboration on The Lion King: The Gift soundtrack to securing Grammy and Latin Grammy nominations, to performing at the 2023 Africa Cup of Nations’ opening ceremony. But the track that paved the way for her robust career is “Johnny,” her 2013 breakout single about a womanizing partner. Audiences from Lagos to Nairobi to Kampala raved over the Selebobo-produced number, and its accompanying visual became YouTube’s most-viewed music video by a female Nigerian artist until it was surpassed by Ayra Starr’s “Rush” video in 2024. – B.M.  

As far as sophomore singles go, “Dami Duro” remains an all-timer. Davido’s debut track, the self-produced “Back When” with rap sensation Naeto C, created buzz around the then-newcomer, but “Dami Duro” marked the true beginning of his enduring career as a hitmaker. Laced with Shizzi’s Afropop production and filled with braggadocio about Davido’s musical prowess and wealth, “Dami Duro” remains an everlasting club banger and a cheat code for any DJ looking to raise the temperature of an Afrobeats function. – B.M. 

Nigeria and Ghana deliver different flavors of Afrobeats, but they aren’t too far apart to work well together. Arguably, the best and most prominent example is R2Bees’ “Kiss Your Hand,” featuring Wande Coal. It became R2Bees’ first major hit to reach listeners outside of Ghana, while also helping elevate Wande Coal’s status after his “Bumper to Bumper” hit from the year prior. “Kiss Your Hand” has stood the test of time as it’s practically guaranteed to bring a new wave of energy into any room it’s played in today. – W. OKON 

Very few songs in Afrobeats history have the magnetic pull of 9ice’s mainstream breakout, “Gongo Aso.” One year after the mild success of his debut album Certificate, “Gongo Aso” arrived on the scene like a jolt, instantly elevating 9ice’s profile and propping up his credentials as a lyrical virtuoso. With ID Cabasa’s fizzing EDM-inspired beat, “Gongo Aso” serves as the perfect soundtrack for all sorts of occasions like Friday night linkups, street carnivals, baby dedications and wedding after-parties. It has enough charm and credence to pass the vibe check with multiple audiences. – W. OLOWOREKENDE 

Styl-Plus’ influence on African music is not to be understated: the group was affectionately known as “Africa’s Boyz II Men” thanks to its penchant for love songs, and “Olufunmi” is a prime example why. It influenced how R&B is incorporated into modern Afrobeats and how today’s artists sing about love. “Olufunmi,” as well as Styl-Plus’ other single “Runaway,” were some of the most-requested love songs on Nigerian radio in the mid-2000s, and the appreciation for the record has continued into the 2020s as ID Cabasa, ODUMODUBLVCK, Fireboy DML, BOJ and Joeboy reimagined the song last year. – W. OKON 

At the time the “Chop My Money (Remix)” was released, P-Square was easily the biggest music group in Africa. Their 2007 album Game Over, which featured standout tracks “No One Like You” and “Do Me,” solidified its continental reign. The next step was to keep pushing globally, which an expansive 2011 album (Invasion) and record deal with Akon’s Konvict Muzik took care of. As part of the fanfare, Akon jumped on the remix of “Chop My Money,” resulting in one of the biggest cross-regional Afrobeats collaborations of all time. It became a critical milestone in what would become a years-long journey to globalize Afrobeats, while serving as a reminder of the sheer scale of P-Square’s legacy. – B.M. 

A notorious and undisputed Burna Boy classic, “Ye” possesses an instant charm as it underscores perseverance in the face of adversity. While Burna was already a garnished icon, “Ye” took his success to the next level, earning platinum certification in the U.K., U.S., France and Canada and reaching No. 31 on R&B/Hip-Hop Airplay. “Ye” doesn’t ask for approval, it demands it — an earworm that represents Burna’s audacity as a spiritual healer as much as a Nigerian entertainer. His “I can’t come and kill myself” line instantly entered the diaspora’s lexicon, providing respite from the grueling pressures of life. – N.S. 

Davido showers his lucky lady with dollars and designer clothes while forgoing his philanderer ways on “Fall.” Released four months after his colossal love song “If,” Davido delivered another (arguably bigger) timeless Afrobeats banger in 2017, one characterized by contemporary mid-tempo synths, highlife guitar melodies and a sprightly bassline, courtesy of producer KDDO. Two years after its release, “Fall” turned into a U.S. radio fixture, spending 21 weeks on R&B/Hip-Hop Airplay, and also became the first Afrobeats song to be certified gold by the RIAA in 2020. It elevated Davido to worldwide superstar status while significantly boosting Afrobeats’ profile in the West. – H.M. 

Before Afrobeats started frequently flirting with other genres, D’banj crafted an entrancing fusion of Afrobeats and EDM on his global smash “Oliver Twist.” He marinates the single in tongue-in-cheek lyricism that hypnotized eardrums everywhere. From commands to “shakey shakey bum bum” to proclaimed crushes on Beyoncé, Rihanna and Nicki Minaj, the track’s quick wit and confidence feel reminiscent of the character it’s named after. “Oliver Twist” reached the top 10 of the UK Singles chart and served as an early marker of West African artists’ sonic arrival on British shores, foreshadowing the genre’s commercial dominance and cultural impact not just in the nation, but across the globe. – N.S. 

CKay’s “Love Nwantiti” is instantly sultry, with its mesmerizing qualities palpable from the first inflection and guitar string. Its diligence in erecting late night fantasies is fundamental to its allure and melodic appeal. CKay darts between English and Pidgin, and recruits Joeboy and Kuami Eugene, Dj Yo! and AX’EL, ElGrande Toto, and Franglish on the various regional remixes, paving the way for its progressive global embrace. The track earned 20x platinum certification in India, diamond certification in France, and 8x platinum certification in the U.S., while conquering the internet via the #lovenwantitichallenge. “Love Nwantiti” not only entertains the Afrobeats fandom but also ups the ante for just how influential the sound can be amongst new generations of listeners. – N.S. 

“Essence” is a masterfully crafted hit, each component attended to with intention and tenderness. An array of percussive instruments and horns form a delicate backdrop against Wizkid’s supple vocals, which emulate the care required to maintain a relationship. Assisted by the equally graceful Tems, the two weave between one another’s lines in perfect harmony. After scoring a remix with Justin Bieber in 2021 — one year after it initially appeared on Wizkid’s Made in Lagos album — “Essence” earned Grammy and Soul Train nominations, and won at the 2022 NAACP Image Awards and BET Awards. Not only is it a prime example of just how good Afrobeats can get, but it also spotlights Wizkid at the height of his artistic prowess. – N.S. 

What sounds on its surface like a mid-tempo love song about meeting a girl at a party is going down in history as one of the most successful Afrobeats crossover songs of all time. “Calm Down,” the second single from Mavin golden boy Rema’s 2022 debut album Rave & Roses, stands out for its catchy hook and simple guitar loop, thanks to producers Andre Vibez and London. When the Selena Gomez remix arrived six months later, it catapulted “Calm Down” into the mainstream pop stratosphere. The remix reached No. 3 on the Hot 100, became the first African artist-led track to hit one billion Spotify streams and won the inaugural best Afrobeats award at the 2024 MTV Video Music Awards. – H.M. 

While the world is much more acquainted with the jubilant party anthem “Nwa Baby (Ashawo Remix),” the original track was a contemporary highlife tune featured on Flavour’s 2005 debut album N’abania. Its 2011 reprisal aimed to reimagine the track as a masterclass in cultural fluidity: Derived from Cardinal Rex Jim Lawson’s 1960s highlife classic “Sawale,” and undergirded by a dancehall drum pattern, it honored Flavour’s Igbo heritage while positioning it within an international context. Living up to its intended purpose, “Nwa Baby (Ashawo Remix)” remains the most global song in Flavour’s discography. Hall parties, weddings and dancehalls alike remain forever indebted. – B.M. 

In the aftermath of early career hits like “Don’t Dull” and “Pakurumo,” Wizkid’s 2014 sophomore album, Ayo, was a chance for him to solidify his position as one of the best Afrobeats artists of the 2010s – which he achieved and then some. “Ojuelegba” was not only one of the biggest records from Ayo but also of Wizkid’s career. It served as a major point of entry into the Afrobeats world for global music fans, as the genre’s popularity skyrocketed to unprecedented levels in the years that followed. The 2015 remix with Skepta and Drake further elevated the song’s profile, but its success within Afrobeats was already destined and certified. – W. OKON 

When the Nigerian boy band Plantashun Boiz disbanded in 2004, many expected 2Baba (formerly known as 2Face Idibia) to emerge as a star. But few could have expected the sheer scale and impact of his first solo hit “African Queen,” a syrupy ballad that revolutionized Afrobeats and announced the arrival of 2Baba as a solo phenomenon. It was later included in the soundtrack for the Mo’Nique-led 2006 romantic comedy film Phat Girlz. From 2Baba’s tender admiration of African women’s beauty to the striking warmth of the song’s video, “African Queen” is a love letter to a generation of women from the continent. – W. OLOWOREKENDE