The Kokomaster refuses to rest. After twenty years of excellence in Nigeria’s music scene, D’banj continues to forge ahead with his latest offering, Tobari. The new single, which features South Africa’s DJ Maphorisa and Nigeria’s DJ Obi, arrives as further evidence that the veteran entertainer remains as vital and creative as ever, refusing to be confined by expectations or defined solely by his musically excellent past.

Tobari finds D’banj in familiar territory, creating infectious sounds that demand movement while delivering the kind of charismatic performance that made him a household name across Africa. Yet there’s something distinctly contemporary about this release, suggesting an artist who understands how to evolve without abandoning the core elements that made him special. The track pulses with the same energy that powered classics like Oliver Twist and Fall in Love, but filtered through the lens of an artist who has watched the industry transform around him.

The timing of Tobari couldn’t be more strategic. Coming off his recent album The Entertainer: The Sequel, which featured collaborations with continental legends like Awilo Logomba and Youssou N’Dour, D’banj has proven that his appetite for musical exploration remains undiminished. The single serves as both a continuation of that adventurous spirit and a reminder that, even with over 540,000 monthly Spotify listeners, he’s far from resting on his considerable laurels.

What makes Tobari particularly compelling is how it showcases D’banj’s understanding of modern Afrobeats while maintaining his distinctive musical DNA. The track demonstrates that veteran artists can remain relevant not by chasing trends, but by staying true to their artistic vision while adapting to contemporary sonic landscapes. It’s a masterclass in evolution without compromise, something that few artists of D’banj’s generation have managed to achieve.

The production choices on Tobari reflect experience and ambition. There’s a confidence in the arrangement that can only come from decades of hit-making, yet the sonic palette feels fresh and current. D’banj’s vocal delivery retains all the charisma and personality that made him a star, but there’s a maturity in his approach that speaks to artistic growth rather than stylistic stagnation.

Perhaps most impressively, Tobari positions D’banj not as a nostalgic figure trading on past glories, but as a contemporary artist with something meaningful to contribute to today’s musical conversation. In a scene increasingly dominated by younger voices, his ability to command attention and respect speaks to his enduring talent and his willingness to continue pushing creative boundaries.

As D’banj continues navigating his third decade in music, Tobari stands as evidence that experience and hunger aren’t mutually exclusive. The Kokomaster is back, and he’s bringing exactly the energy the scene needs, proof that some artists don’t just survive industry changes, they thrive within them.

Listen to Tobari here.

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Ghanaian-American singer Moliy’s hit single Shake it to the max (Fly) has officially been certified gold in France, a significant milestone for the artist and a major win for Afrobeats’ expanding global influence.

The track, which features Jamaican artists Silent Addy, Skillibeng, and Shenseea, has achieved a new level of success in one of Europe’s largest music markets.

The certification, which was officially announced on Monday, August 4, 2025, signifies that the single has reached 15 million equivalent streams in France, is an evidence of its widespread popularity and staying power. The song’s blend of Moliy‘s smooth vocals with the high-energy contributions from Silent Addy, Skillibeng, and Shenseea has clearly resonated with French audiences, crossing cultural and linguistic barriers.

This achievement marks a new high point in Moliy’s career and highlights the increasing international appeal of Afrobeats and Caribbean music. The collaboration on the track brought together artists from different regions, creating a unique sound that has now been recognized on a global stage.

As the genre continues to grow, Shake it to the max (Fly) stands as a prime example of successful cross-cultural music collaboration. The gold certification in France is a powerful indicator that Moliy’s sound is connecting with a diverse audience and that she is an artist to watch on the global music scene.

Moliy’s “Shake it to the max (Fly)” featuring Silent Addy, Skillibeng & Shenseea is now certified gold in France pic.twitter.com/SkGZ4mfwuv

— 𝗔𝗟𝗕𝗨𝗠 𝗧𝗔𝗟𝗞𝗦 (@AlbumTalksHQ) August 4, 2025

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South African global superstar, Tyla has officially made history, with her self-titled debut album, TYLA, spending an astonishing 70 consecutive weeks on the Billboard World Albums chart.

This milestone makes it the first album by an African female artist to enjoy such a long, uninterrupted run on the influential chart.

Originally released on March 22, 2024, TYLA made an immediate impact, debuting at No. 1 and setting the tone for what would become a defining moment in African music. Over a year later, the album’s staying power is still undeniable, a reflection of both its worldwide resonance and Tyla’s unmatched ability to blend culture, rhythm, and global appeal.

Fusing amapiano, Afrobeats, pop, and R&B, TYLA has become a soundtrack of the new African wave taking over the world. Smash hits like the Grammy-winning and multi-platinum track Water helped propel her into global superstardom, turning club anthems into chart history and catapulting African sounds into mainstream playlists around the world.

This achievement on Billboard World Albums chart doesn’t just belong to Tyla, it’s a win for African women in music. Her record-breaking success shines a spotlight on the incredible talent coming out of the continent and reminds the world that African female voices are here to stay.

As Tyla continues to break records and barriers, she also continues to inspire a new generation of African creatives, proving that homegrown music can resonate, thrive, and make history on the biggest stages.

JUST IN: “TYLA” becomes the first album by an African female act to spend 70 WEEKS on the Billboard World Albums chart. pic.twitter.com/5pndu4wOgn

— 𝗔𝗟𝗕𝗨𝗠 𝗧𝗔𝗟𝗞𝗦 (@AlbumTalksHQ) July 29, 2025

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American rapper Gunna is bridging continents on his upcoming album The Last Wun, with confirmed features from Nigerian heavyweights Burna Boy, Wizkid, and Asake.

The highly anticipated release of Gunna’s new album, The Last Wun, is set to make a significant impact on the music industry, with the confirmation of a major collaboration with three of Afrobeats’ most influential artists.

Burna Boy, Wizkid, and Asake are all officially featured on the project, which is scheduled to drop this Friday, August 8, 2025.

This announcement comes as a powerful statement from Gunna, who is known for his melodic and rhythmic style. By enlisting these Nigerian superstars, he is not only bridging continents but also promising a rich and diverse sonic experience for listeners.

Burna Boy, fresh off his recent global successes, is expected to bring his unique blend of Afrobeats, dancehall, and reggae to the album. Meanwhile, the inclusion of Wizkid, a figure synonymous with the global rise of Afrobeats, signals a track with strong crossover potential. The addition of Asake, whose vibrant and soulful music has captivated audiences worldwide, further guarantees that The Last Wun by Gunna will be a genre-bending masterpiece.

The news has already sparked a social media firestorm, with fans eagerly speculating about the specific tracks and the dynamic these artists will bring to Gunna’s sound. With such a high-caliber list of confirmed features, The Last Wun is poised to be one of the most talked-about albums of the year.

BURNA BOY, WIZKID & ASAKE ARE CONFIRMED FEATURES ON GUNNA’S ALBUM

“THE LAST WUN”

OUT ON FRIDAY pic.twitter.com/Yavt5f6pK1

— 𝗔𝗟𝗕𝗨𝗠 𝗧𝗔𝗟𝗞𝗦 (@AlbumTalksHQ) August 5, 2025

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Born in Lagos, On the 22nd of October 1999. Ohazurume Chinedu Belonwu – professionally referred to as NED-BOII grew up at the intersection of cultural duality. He was raised in the fast paced chaos of Lagos but carrying the quiet depth of his Imo state heritage. He developed a worldview that sees beyond the moment, the duality bleeds into his music.

“I was raised in a home full of pressure, prayers and problems, Music became my escape, then my purpose.”

SCHOLAR BY DAY ARTIST BY SOUL.

NED-BOII isn’t just another voice in the crowd , He holds a degree in Political Science & Archaeology from one of Africa’s Most Prestigious universities – The University of Ghana, Legon.

“In the University, I didn’t actively pursue a music career, I actually pursued a football career until they broke my leg.” He laughed. But I was always in the studio, always recording, always freestyling and one of my closest friends Tayovic BAD OG was into music professionally at the time and I was involved but not as a recording artiste, more of a support.”

FROM ACADEMIA & BANKING TO THE MIC.

Before diving into Music full time, Ned-Boii’s Path looked very different. He worked in Nigeria’s Banking Sector for five years.

“After my football career came to an abrupt end, I knew I had to put food on my table so I seized upon an opportunity to join Banking in the form of Polaris Bank, then I joined Wema Bank. It was then it dawned on me that for me to live and not be alive, I must pursue what set my soul on fire, it was like I was living two lives, he shares. The Bank during the day and the studio at night. Eventually, the music had to win.”

TOO CLEAN RECORDS: WHERE SOUND MEETS SPIRIT.

Too Clean Records is an emerging independent record Label based in Lagos, Nigeria. Founded on the 20th of August, 2024. The label is Focused on Originality, spiritual resonance and depth, the Lagos based collective quietly started scouting for an artist who embodied those rare elements.

After a 3 month search, Too Clean Records finally found the artist they hoped would be their lead artist and hopefully breakout star, but there was just one major problem, he worked in the corporate world. Talks were on hold. Two months later, he would reach out willingly and ink the record deal with Too clean Records.

“Too Clean Records have evolved my thoughts regarding music, After I dropped on rolling, i spent 3 months sleeping on a mat at Too Clean Records Studio, all we did was work on our sound, eat and sleep. no video games, no women, no sex. it was difficult to be honest but I think it paid off, and it should reflect in the quality of my next release as well as my upcoming EP called Ajonwa’s Return.” My old co-workers mock me, they call me a fool in their group chats, it circled back to me but i forgive them, they don’t understand passion. doing what sets your soul on fire, we all die but only a few live and i want to experience life and others to experience me through my sound.”

A spokesperson for Too Clean records said “we were looking for something special, whose pain was real that carried emotional weight, cultural honesty and raw texture, the label had been waiting for, it wasn’t just a signing but a spiritual alignment. A creative prophet about to share his prophecy to his congregation.“

Ned-Boii’s debut EP drops December 2025 and it is called Ajonwa’s Return.

Follow NED-BOII:

Instagram: @Nedboiiajonwa
Twitter: @Nedboii
TikTok: @Nedboii

For Booking: Booktcrecords@gmail.com

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Every week, OkayAfrica highlights the top African music releases — including the latest Afrobeats and amapiano hits — through our best music column, African Songs You Need to Hear This Week.

Read ahead for our round-up of the best new African music tracks and music videos that came across our desks this week.

Rema – “Kelebu”

No one is currently touching Rema in terms of sonic innovation, lyrical finesse, and aura. His latest release, “Kelebu,” traces a sonic map shaped by colonial ruptures but rooted in a shared ancestral pulse. Listen closely and you’ll hear echoes of Congolese soukous and rumba, rhythms once severed by empire now reuniting in syncopated defiance. Peer deeper, and the Caribbean influence stares back at you — bold, unhidden, unmistakable. This is high-impact, high-energy music: a callback to the era of Afrobeats that forged Rema’s artistry. But it’s also a study in reference and reinvention. The chorus? Rema’s relying on muscle memory, here. It’s a wink to Davido’s 2012 anthem “Skelewu,” a track that helped script the early chapters of Afrobeats’ global rise. Rema reactivates archives, disregarding designated borders, and dancing across them with a broad smile on his face. – Tšeliso Monaheng

Adekunle Gold – “Coco Money”

In a newly released music video, directed by Perliks and Edgar Esteves, the riveting musicality of “Coco Money” gets visuals to match. Over black-and-white shots, the artist is cast as a sort of godfather, watching through scenes of movement spurred by basketball and boxing. Decked in fine suits, it’s quite the arthouse style to one of the most inventive songs Adekunle Gold has recently released, a renewal of beloved traditional forms. – Emmanuel Esomnofu

Tiwa Savage & Skepta – “On The Low”

With an album forthcoming later this month, we’re in Tiwa Savage time again. Every time the Afrobeats icon steps into the booth, she’s intent on pushing the craft, and “On The Low” is no exception. A cool duet with Skepta, which thrives on her unparalleled handling of R&B, the track carries the smooth sensitivity of rainy days. Each has admired the other for a while now, and here the chemistry is evident — a compact yet emotionally charged affair that would age well. – EE

King Monada – “Depression”

King Monada is one of the leading forces in the lekompo and bolo house movements. On “Depression,” he rides a beat that exists somewhere between Limpopo’s renowned genre, tsa manyalo, and the Lekompo sounds that continue to evolve the sonic legacy of South African electronic music. “Monahano oa ka o damejeile, a nka kgona ho nagana, a nka gona selo (my mind is damaged/ I can’t think, I can’t do anything),” he sings on the bridge, bearing his heart out, reeling over the joy that has been taken from him by a person. This is a universally relatable message, and King Monada expertly embodies the emotions of someone who is just going through all the stages of denial. – TM

Enny – “Cabin Feva”

Enny is an MC’s MC. Her style is delicate, but edged with a ruggedness that’ll slice right through you if you’re caught slipping. “Cabin Fever,” produced by the Polish Congolese producer Moo Latte, is as self-contained as it is expansive. It’s a sonic sprawl that is lush, layered, and punctuated by intentional interruptions that melt seamlessly into her smouldering bars. “I’m just a girl at heart / I don’t wanna play the role of bitch ’cause there’s no award for that,” she raps, a line that cuts with precision, peeling back armor to reveal soft power. Here, vulnerability is strength sharpened. The video, co-directed by Enny and Otis Dominique, puts the power of community front and centre. From the glitch edits to the intimate moments, to the layered portrait of city life that unfolds, it’s a focused visual extension of the track. “Cabin Fever” feels like a creative release valve, one anchored in love and honesty, and isn’t waiting for permission to exhale. – TM

Young Jonn & Asake – “Che Che”

For those familiar with it, Jyde Ajala’s work is a distinct contribution to the contemporary Afrobeats visual landscape. On the video of “Che Che,” he again flexes his ability, situating both Young Jonn and Asake in noir-like scenes that complement the suave tone of the record. From leather jackets to huge metallic rods and exquisite lighting, it’s a cinema-inducing treatment that’s worthy of the song’s hit status. – EE

Mau From Nowhere, hihi, Maya Amolo – “Let It Pass”

“Let It Pass” is a warm current, a ray of sunshine slicing through even the stormiest skies. Mau From Nowhere is confident, unafraid to test the limits of his vocal range and lyrical vulnerability. His flow channels raw, primal energy, filtered through Southern rap cadences, then left to ferment in East African heat for maximum flavour. Maya Amolo, ever the precisionist, doesn’t miss. Her voice arrives like a fragile moment of clarity, the kind that threatens to vanish, yet lingers long enough to become necessary. The two volley lines like old friends trading secrets, their rap exchanges further into the song a sharp, playful, and grounded dialogue. Behind it all, hihi crafts a cinematic soundscape that is lush, dramatic, and fluid. The track moves through emotional peaks and valleys, wrapping you in warmth before flipping into unexpected pockets. This is a composition that surprises and comforts, a masterclass in collaborative expression. – TM

Stonebwoy – “LOVELY WEATHER”

One of Stonebwoy’s defining strengths is his ability to deliver soulfully-charged records. Even as he incorporates the gritty lingua of dancehall into his style, he’s first and foremost a sincere singer, and that’s evident on a song like “LOVELY WEATHER.” As the title implies, it’s a curation of the events that happen during such a time, featuring overt romantic images and suggestions. One of the standouts from his last project, UP & RUNNIN6, the steamy visuals evolve its vision. – EE

Alec Lomami – “Cruise Control (3AM in Kinshasa)” (feat. Jovi)

“Sooo… Didn’t overthink this one! Just made a dope record with one of my favorite rappers, the legend himself, Jovi! Hope you dig it,” goes the note accompanying Congo’s own Alec Lomami. – TM

melvitto – “For Days” feat. AYOMIPO

One of the most original producers around, melvitto knows his way around a beat. The first thing one notices about “For Days” is the low growl of its bassline, which builds up to a favorable intensity without ever letting up. With vocals that are gruff and prosaic, an enchanting narrative is woven through the minimalist design of the production. For long now, melvitto has soundtracked the after-hours—what happens when it gets dark—and that sense of menacing thrill is all over this beautiful record. – EE

Fresh off the heels of his back-to-back releases, Baby (Is It a Crime) and Bout U, Nigerian international superstar Rema has just dropped his latest single, KELEBU, and it has triggered a frenzy, already shaping up to be a summer anthem. Co-produced by London and Ambezza, the song simply just electrifies; it demonstrates exactly why he remains one of Africa’s most compelling musical exports.

KELEBU is exceptional for Rema’s bold exploration of pan-African sounds. On his new single, Rema plugs his entire voltage into the Francophone pop genre Coupe Decale, which also has strains of Bongo Flava and Soukous that unite different parts of the continent. It isn’t merely musical experimentation as far as I’m concerned, it’s a statement of unity that bridges linguistic and cultural divides across Africa.

Rema himself shared that creating this track was a journey back to his childhood, recalling moments spent dancing to a diverse range of sounds, from Caribbean bounces to Francophone grooves, simply for the sheer joy of the fantastic instrumentals. This inter-generational energy is palpable throughout the song, making it universally appealing.

The song is described as “raucous” and “horn-driven,” suggesting Rema has crafted something designed to move bodies and lift spirits. The production, helmed by London, showcases the kind of sonic sophistication that has become synonymous with contemporary Afrobeats while pushing into exciting new territories.

KELEBU arrives at a crucial moment in Rema’s trajectory. Having established himself as a global force with previous hits, this release showcases an artist unafraid to experiment while maintaining the core appeal that has earned him international acclaim. Written by Rema himself (Divine Ikubor), produced by the visionary London and expertly mixed by Leandro “Dro” Hidalgo, “Kelebu” showcases everything that makes the artist special.

In an era where music often feels disposable, KELEBU stands as a reminder of music’s power to unite, energize, and inspire. Rema has once again delivered exactly what we didn’t know we needed, precisely when we needed it most.

Listen to KELEBU here.

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In a recent livestream with content creator N3on, Australian rapper Iggy Azalea revealed her current musical obsession, spotlighting Nigerian singer-songwriter Victony.

When asked about her go-to artist at the moment, Azalea enthusiastically named Victony, praising his music as her “soundtrack in the shower.”

During the stream, Azalea shared how she discovered the Afrobeats artist. “I just found him on Apple Music,” she explained. “I was listening to another song and he had done a collaboration with the person. And I was like, ‘Damn, he’s kind of fire.'”

The Grammy-nominated rapper’s endorsement is a significant moment. It shows the increasing global reach of Afrobeats. Her comments show a personal and genuine appreciation for Victony’s music, a sentiment that resonates beyond the genre’s typical audience.

Victony, known for his unique blend of Afrobeats, R&B, and trap, has been making waves internationally with hits like Soweto and Apollo. Azalea’s public praise is likely to introduce his music to a new segment of listeners, further reaffirming his status as a rising star on the world stage.

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Top African artists are making big waves on YouTube, with their Monthly Audience numbers showing millions of fans tuning in to watch and enjoy their music every month.

In today’s fast-moving music world, where global hits can be born from a 15-second clip and fan-made dance challenges travel faster than radio play, understanding artist influence requires more than just tallying streams. YouTube Music’s recently introduced “Monthly Audience” metric is a big step in that direction, offering a clearer, more holistic picture of how artists are resonating with listeners across the platform.

Updated daily, the feature counts the total number of unique users who’ve watched or listened to an artist’s content, whether it’s an official video, a viral Short, a fan-uploaded dance clip, or even a behind-the-scenes vlog, over the previous 28 days. In essence, it’s YouTube’s answer to Spotify’s long-standing “Monthly Listeners,” but with a multi-format twist that makes it uniquely powerful.

This comes at a time when African music is having a moment, not just on the continent, but across the globe. Afrobeats, in particular, is booming. It’s infectious, it’s emotional, and it’s universally danceable. In 2022, the genre racked up over 13 billion streams on Spotify, marking a 550% surge since 2017. YouTube’s new metric could not have come at a better time to help chart this rise.

But what makes this even more exciting is how the feature favors the ways African music spreads, through community engagement, visual content, viral dance trends, and fan remixes. Unlike platforms that only track official audio plays, YouTube “Monthly Audience” captures the full digital footprint of artists. That’s huge for artists whose success often lives in the space between official releases and the internet’s creative chaos.

The ripple effect is already being felt. For record labels, A&R execs, and brand marketers, this isn’t just another number. It’s an entirely new lens for evaluating reach, cultural relevance, and potential market impact, especially for artists emerging from vibrant but underrepresented regions. And right now, African artists are making waves on YouTube, racking up audience monthly that rival or surpass global stars.

Here’s a breakdown of the African artists with the highest YouTube Monthly Audience, showcasing their impressive reach and cultural influence.

Rema – 307m Monthly Audience

No surprises here. Rema is the undisputed leader, with a jaw-dropping 307 million Monthly Audience. His chart-topper Calm Down, especially the remix with Selena Gomez, is a global juggernaut with 1.18 billion YouTube views and a 58-week run at the top of the Billboard Afrobeats chart.

He’s also the creator of “Afrorave,” a genre-bending style that mixes Afrobeats with Middle Eastern and Indian influences, and his fanbase, known as the “Ravers,” spans continents. His Rave & Roses Ultra made history as the first African album to surpass 2 billion Spotify streams, and his 2024 album Heis earned him a Grammy nomination.

Chella – 109m Monthly Audience

With a reported 109 million Monthly Audience, Chella is quickly becoming one of the most-watched rising stars in Africa’s music scene. While YouTube hasn’t officially confirmed that number in public snippets, Music Metrics Vault shows he’s already surpassed 57 million total plays as of July 2025, and the numbers don’t lie. His breakout track, My Darling has racked up an impressive 52 million views on YouTube alone, capturing the attention of fans across the continent and beyond.

With over 400,000 subscribers on his official channel and strong engagement on his latest releases, Chella’s growth feels organic and explosive. It is a clear sign that listeners are not just passing by, they’re staying. His presence is proof that a new wave is here, and it’s only just beginning.

CKay – 104m Monthly Audience

Ckay has quickly become one of Afrobeats’ most influential voices, thanks to his signature “Emo-Afrobeats” sound, a heartfelt fusion of traditional African rhythms and raw emotion. With a reported Monthly Audience of around 104 million (and some estimates even higher), he’s reaching listeners worldwide like few others. His smash hit Love Nwantiti has topped charts in over 30 countries and accumulated more than 2 billion streams across platforms. The remix alone has pulled in an impressive 346 million views on YouTube, turning it into a global anthem.

Notably, Ckay made history as the first African artist to have two tracks simultaneously in Spotify’s Global Top 30, a reflection of his growing international influence. His debut album, Sad Romance, has amassed over 400 million streams, showcasing his growing popularity. Additionally, Ckay earned a Grammy nomination for his notable contribution to Janelle Monáe’s album The Age of Pleasure, further highlighting his expanding influence in the music world.

Tyla – 63.6M Monthly Audience

With a whopping 63.6 million Monthly Audience, Tyla’s rise in the global music scene has been nothing short of spectacular. Her Grammy-winning single Water took social media by storm, with the video going viral and launching her career to new heights. This success made her the highest-charting African female solo artist on the Billboard charts, a huge milestone. The song has racked up an impressive 689 million plays on YouTube Music, proving just how much listeners connect with her sound.

Tyla is also credited with popularizing “popiano,” a fresh, upbeat mix of pop and South Africa’s amapiano dance music. Her self-titled debut album dropped in 2024 and made a strong impression, debuting at number 24 on the US Billboard 200. With 31 awards won from 105 nominations, including big wins like Best New Artist and Best International Act at the BET Awards, Tyla is clearly a force to be reckoned with in music today.

Davido – 57.8m Monthly Audience

Davido’s reported 57.8 million Monthly Audience (with some sources suggesting even 58.5 million) highlights his lasting impact on the global music stage. Known for timeless hits like Fall, which has over 310 million views on YouTube, and If with more than 203 million views, his total YouTube views surpass a staggering 2 billion.

Beyond his solo success, Davido has built an impressive track record of international collaborations, working with big names like Chris Brown on Blow My Mind, Popcaan on Risky, and Musa Keys on UNAVAILABLE. His recent album Timeless and singles such as Unavailable and Feel have earned him multiple Grammy nominations, cementing his status as a global Afrobeats icon.

Throughout his career, Davido has been a consistent favorite at major African music awards, often taking home the coveted Artist of the Year title, a reflection of his influence, talent, and enduring popularity.

Burna Boy – 30.9m Monthly Audience

They don’t call him the African Giant for nothing. With a reported 30.9 million Monthly Audience, Burna Boy’s status as a global music powerhouse is undeniable. He’s a Grammy winner for Best Global Music Album with Twice as Tall and has repeatedly claimed the BET Award for Best International Act, proving his lasting influence on the world stage.

Burna Boy’s YouTube presence is massive, with over 3.4 billion views to his name. Hits like On the Low, which has over 512 million plays on YouTube Music, and Last Last with more than 423 million plays highlight his broad and passionate fanbase.

His collaborations read like a who’s who of global superstars, from Coldplay to Justin Bieber and Travis Scott, showcasing his ability to bridge genres and audiences. Even Rolling Stone recognized his incredible talent, ranking him among the 200 greatest singers of all time. Burna Boy isn’t just an artist; he’s a global cultural force.

Ayra Starr – 26.9m Monthly Audience (Disputed)

Ayra Starr’s reported 26.9 million Monthly Audience on YouTube Music shows just how far she’s come since her breakout. While some platform snippets suggest a lower figure (around 5 million), her total 899 million+ YouTube views speak volumes about her global reach. Her 2022 hit Rush was more than a song, it became a global anthem, now sitting at 476 million views. Follow-up singles like Commas (138 million views) show her consistency in delivering chart-toppers.

In 2025, Ayra made history as the first Nigerian female to win a BET Award for Best International Act, alongside a MOBO Award for Best African Music Act. With collaborations featuring Giveon and CKay, her influence keeps growing. Ayra Starr is more than a rising star, she’s redefining what it means to be young, African, and globally unstoppable.

Wizkid – 16.1m Monthly Audience

With a steady 16.1 million Monthly Audience on YouTube Music, Wizkid isn’t just a star, he’s a legend who helped pave the way for Afrobeats on the world stage.

His career exploded globally with One Dance alongside Drake, but it was Essence featuring Tems that became a cultural reset, the first Nigerian song to hit the Billboard Hot 100. That track now boasts over 460 million plays, while hits like Joro have pulled in 367 million+.

Wizkid’s shelves are heavy, he’s the most awarded African artist across the BET, Billboard, MOBO, Soul Train, and iHeartRadio awards. From Beyoncé to Justin Bieber, his collabs keep proving his unmatched global pull. Calm, consistent, and always classy, Wizkid remains the blueprint.

Omah Lay – 11.5m Monthly Audience

Meanwhile, with a reported 11.5 million Monthly Audience on YouTube Music, Omah Lay is steadily carving out a powerful space in Afrobeats, one emotional lyric at a time.

Known for his soulful voice and haunting storytelling, he burst onto the scene with “Bad Influence” and never looked back. His hit Soso has racked up over 217 million views, while Understand holds strong with 158 million+.

With 2.43 million YouTube subscribers and over 1.1 billion total views, Omah Lay’s rise feels personal for fans. His collab with Justin Bieber on Attention only amplified his reach, showing that his sound, raw, moody, and magnetic, resonates far beyond Africa. He isn’t just riding the wave; he’s shaping it.

Asake – 9.01m Monthly Audience

With 9.01 million Monthly Audience on YouTube Music and 28.3 million monthly video views (according to Chartmetric), Asake is one of the most electrifying voices in Afrobeats right now.

His breakout debut, Mr. Money with the Vibe, made history as the biggest opening-day African album on Apple Music, a bold entry into the game. Blending Fuji, street anthems, and amapiano, Asake created his own lane with what fans call “Street-Pop.”

His runaway hit Lonely At The Top has racked up 73 million+ YouTube views, while “Terminator” keeps dancefloors busy across the globe. From selling out London’s O2 Arena to shutting down New York’s Barclays Center, Asake is proving he’s not just viral, he’s global. And with collabs alongside Wizkid, Davido and Burna Boy, he’s only just getting started.

Tems – 7.9m Monthly Audience

With a reported 7.9 million Monthly Audience on YouTube Music (and 14.72 million listeners on Spotify), Tems continues to be a genre-defying force redefining modern African music. A standout figure from Nigeria’s alté movement, her rich, soul-bending vocals and introspective songwriting have earned her global reverence.

Tems’ breakout came via the chart-smashing Essence with Wizkid, a record that marked a seismic shift in Afrobeats’ global perception. From there, she’s become a go-to collaborator for music royalty: Drake (Fountains), Future and Drake again (Wait For U), Beyoncé (Move), and Rihanna, with whom she co-wrote the Oscar-nominated Lift Me Up.

Her accolades include a Grammy win for Best Melodic Rap Performance, plus Oscar and Golden Globe nominations, achievements few African artists, let alone female, have matched. In 2024, she unveiled her long-anticipated debut album, Born in the Wild, cementing her place as one of the most compelling voices of her generation.

Victony – 7.44m Monthly Audience

Victony‘s reported 7.44 million Monthly Audience highlights his steady rise as one of Nigeria’s most dynamic young talents. Originally emerging as a rapper, he transitioned into a genre-blending artist, fusing Afropop, R&B, and hip hop. His breakout hit Soweto became a global sensation, racking up over 164 million YouTube views, with a remix featuring Rema and Don Toliver that pushed it onto international charts.

His 2024 sophomore album Stubborn has been praised for its bold experimentation and lyrical introspection. With over 1.1 billion total streams, Victony is earning both critical acclaim and mainstream attention.

Why these numbers matter

The YouTube Monthly Audience metric levels the playing field for artists who shine in the visual and viral space. For African stars, whose music often flourishes through dance challenges, community remixes, and YouTube Shorts, it offers the most accurate picture yet of global reach.

This metric doesn’t just count streams; it measures influence, across official uploads, fan videos, vlogs, performances, and creative mashups. It’s a mirror of how audiences live with music, not just how they stream it. And as we’ve seen, Africa’s biggest stars are not just competing on the world stage, they’re winning. Africa is watching. And so is the world.

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