Entertainment
Afrobeats dominated in 2021
In 2021, Wizkid and Tems’ “Essence” became the song of the summer.
In 2021, Afrobeats attained new heights and shattered a different ceiling thanks to success of Wizkid, Tems, and Burna Boy.
Global music predictions for 2021 didn’t include Afrobeats. There was no reason to, especially how coronavirus blighted the industry leading to outcomes like concert cancellations and album delays.
Before the pandemic, Afrobeats was already on a glorious trajectory. Music streaming platforms caught on; Spotify and Apple Music both launched African playlists to curate the biggest songs from the continent. Last year, the UK launched its first Afrobeats charts to highlight the genre’s increasing global influence.
Crossovers into the mainstream are no longer a novel concept, whether by collaborations with international stars or standalone virality. In 2021, Afrobeats needed to attain new heights and shatter a different ceiling. This would manifest: Burna Boy won his first Grammy; Wizkid and Tems coasted through a pandemic-plagued summer with the feel-good hit of the year; and CJay’s Love Nwantiti reached critical mass thanks to the immense power of TikTok.
Right from the start, Burna Boy had believed in his own grandeur, so much so that he maximally subscribes to afrofusion in defining his sonic craftsmanship, not to mention his Coachella fracas of 2019.
In the grand scheme of things, losing his first Grammy nomination for African Giant to Beninese powerhouse Angélique Kidjo last year was only a temporary setback. His music wasn’t just for mindless consumption anymore, but became a totem of conscious Black thought.
It was also reflected in press interviews and on his social media. In an era of diasporic feuds amongst Black people, and attempts at building a Pan-Africanist utopia for all identities, Burna Boy was an interesting voice in the mix. When, in March, he garnered his second Grammy nomination for Twice As Tall in the same category that sloughed off logics of colonization, it was a watershed moment.
No homegrown Nigerian artiste had been a recipient for the award, from the broader pantheon that includes King Sunny Ade, Sade Adu, Seal, Cynthia Erivo to Kevin Olusola, whose American acapella group Pentanix won the Best Country duo/group performance for their spin on the classic song “Jolene.” Burna Boy’s Grammy win puts him in a separate pantheon.
As the world was gradually opening up from digital hibernation — award shows, limited capacity leisure spots, vaccination-required concerts/festivals — the pandemic breathed new scares with the Delta variant. Incidentally, CKay’s “Love Nwantiti” had returned for a bigger viral wave which engulfed TikTok and beyond, putting the world under a delicious spell.
First released on his 2019 EP CKay the First, the remix with Joeboy and Ghana’s Kuami Eugene ensured it was a commercial success in Nigeria. But it would be the DJ Yo and AX’el remix that would blow up TikTok like a supernova, prompting further versions in different languages and the beginning of a chart success, notably his first Billboard Hot 100 entry.
The marvel about “Love Nwantiti” was that its TikTok virality wasn’t orchestrated by CKay. Curling lush, emotive R&B vocals around a backbone of Afrobeats, the result is a lulling, calming effect. At 26-years-old, this global smash hit enabled CKay to reach crossover stardom in what might have taken others more than a decade. But there are implications from this singular event on the Nigerian music industry, which might see more songs snappily designed for TikTok to reach virality.
The opposite was true for Wizkid’s “Essence” featuring Tems. Long before it became the song of the summer, there was a mystifying aura around Tems and her background story. In the industry, she had sonically bewitched both mainstream and alternative courts with her early singles, something quite impossible to do especially by an emerging artiste.
Her sartorial sensibility was slightly monastic; her body was never captured in its entire view and this was seemingly her doing. This brought up conversations about female artistes performing objectification for the male gaze, and the entitlement that men feel when this is absent. She was doing music how she wanted, her vocals striking between nasal tones and smoldering. So the collaboration with Wizkid made practical sense, further enlivening his much-awaited fourth studio album Made In Lagos released in 2020.
The matrimony of both artistes’ fanbases culminated into a homegrown smash. On the other hand, the song’s globe-trotting success can be partly be attributed to the album’s deluxe edition which recruits Justin Bieber for the remix. This was in August. Again there’s Tems, who, to most listeners in crucial markets, was unknown. And this curiosity was titillating. It drove another layer of seduction and appeal for “Essence,” anointed by the Black diaspora as a critical summer anthem.
In an unrelenting pandemic, the song’s warm, tropical rhythms expressed for people the places they couldn’t go and desires for better horizons.
Along with the reprieve the year offered from the claustrophobic lockdowns of 2020, budding talents emerged on the local front. Introducing Ayra Starr, the 19-year-old singer ceremoniously unveiled on Instagram by music mogul Don Jazzy at the start of the year. Ayre occupies a unique vantage point, marrying pop aesthetics with West African sensibilities through the anxious lens of teenagehood. With the release of her dazzling debut album 19 & Dangerous, Ayra is ready to take over.
There are many more promising acts that became more visible this year, from Buju, Ruger to Lojay, whose Afrohouse-tinged song “Monalisa” gained insane airplay on Nigerian radio and topped Shazam’s global Afrobeats chart. Nigeria as a repository of Afrobeats talents isn’t bound by space or time, so bring on another calendar year.
Nigerian music artiste and songwriter, Anthony Olukitibi, widely known as Ko’re, has said that his new song ‘Shaye’, was composed to inspire people who are struggling with life that no matter the situation, they must always celebrate their lives.
The US-based singer stated that he decided to come up with the song in order to remind people that irrespective of whatever they are going through, they must enjoy the moment and dance without worries.
Stating why his style of music stands out, Ko’re said, ”My music stands out because it blends Afrobeats with diverse global influences, creating a sound that is both authentic and fresh.
“Here’s what makes my style unique: rhythmic and melodic fusion. I mix traditional Afrobeats percussion with modern elements from R&B, dancehall, and highlife, making my sound versatile and appealing to a global audience.
Soulful storytelling beyond just beats, my lyrics tell relatable stories that connect emotionally with listeners, whether it’s about love, celebration, or personal growth.
“My music is designed to uplift and move people, creating an infectious energy that resonates on dance floors, at parties, and in everyday life. My voice carries a unique tone and flow that sets me apart from other Afrobeats artists. It’s a signature that fans can instantly recognise. I stay true to my roots while pushing creative boundaries, making my music a fusion of culture, rhythm, and innovation.”
He, however, hinted that he is planning a collaboration with some artistes, saying, “I definitely plan to collaborate with Nigerian artistes in the near future. Nigeria has some of the most talented musicians in the world, and I’d love to work with artistes who align with my sound and vision.
“I am currently in talks with a few artistes and producers, looking to create something unique that blends authentic Afrobeats with my personal style”.
Collaborating with established or emerging Nigerian acts would help push my music to a wider audience and bring fresh energy to my sound.”
Nigerian-American Afrobeats artist Ewol Samo has announced plans to commemorate his birthday on April 8th by visiting orphanages and elderly care homes, where he will donate essential supplies and spend time with residents. This initiative is spearheaded through his newly launched nonprofit, The Oladayo Shola Apata Foundation (The OSA Foundation), named in honor of his late elder brother, who passed away from bladder cancer two years ago.
According to Ewol Samo, the foundation serves as a special-purpose vehicle for his philanthropic endeavors, focusing on supporting orphans, the elderly, homeless children, and underprivileged individuals. To fund this outreach, he is supplementing his personal donations with contributions from friends and business associates.
“I love giving, and my mantra has always been that sharing is caring. This foundation not only honors my late brother’s memory but also helps me fulfill my lifelong ambition of providing support to those in need,” Ewol Samo shared.
Reflecting on his journey, the artist recalled a moment when a heated altercation with a local Chicago artist led to an interview where his statement—“I was the wrong guy to mess with”—went viral. That experience, he says, taught him the power of words and actions.
“I’ve learned that reacting in anger can have far-reaching consequences, so I’ve been working on channeling all my energy into positivity. This foundation is my way of giving back and setting an example for the younger generation,” he said.
Beyond his philanthropic work, Ewol Samo recently launched ‘The Wrong Guy Podcast,’ a platform for unfiltered conversations about music, culture, and life. He is also in the studio working on an upcoming, yet-to-be-titled project.
Fans can stay updated on his music, tour dates, merchandise, and foundation activities by visiting his website: https://mrwrongguy.com.
Born Samuel Apata on April 8, 1992, in Ibadan, Nigeria, and raised in Chicago, Illinois, Ewol Samo’s journey is one of resilience, transformation, and cultural fusion—one that continues to inspire both through his music and his commitment to uplifting communities.
The estranged wife of skit maker Ganiyu Kehinde popularly known as Ijoba Lande, has apologised for having sex with Baba Tee,saying she wasn’t like this.
Darasimi was accused of infidelity by her former husband Ijoba Lande who said, he could count up 21 persons including actor Baba Tee sleeping with his wife, fearing that “if he reveals their names, he may not make it home,”.
Despite initially denying it, Baba Tee admitted having a “short” sexual encounter with Darasimi while playing truth or dare game. He claimed he did not know she was Ijoba Lande’s wife.
In an interview with actress Biola Adebayo on the Talk to B podcast published on Saturday, Darasimi pleaded for forgiveness, saying she would not make such a “mistake” again.
“Ijoba Lande, don’t be upset with me. I’m also begging everyone I have disappointed, including Nigerians worldwide. This is not who I am and I pray never to make such a mistake again,” she said.
Darasimi also claimed Ijoba Lande struggled with gambling which pushed the family into financial difficulties.
“I am always surprised when people say I spent Lande’s money and dumped him. Which money did Lande have? He has never been a wealthy guy; he is an addicted gambler who spends all the money he sees on gambling,” said Darasimi.
“His love for gambling is so much such that he gambled with N2 million in a day. Aviator virtual gambling is his favourite. His gambling habit led to him selling his car to fund his gambling lifestyle. This is the reason why he is broke and depressed today. I suffered a lot by borrowing money and food from neighbours.
“He is also very hot-tempered; he hits me whenever he is angry. The major reason why I left him was when he hit me because of the ‘ajo’ money that Marygold was owing. He didn’t want me to pester her for the money. Ijoba Lande was broke when I met him but because of the love I had for him, I still went ahead to marry him. I sponsored most of the things needed during our wedding introduction.”
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