Happy New Year once again, beautiful people. It’s been a rollercoaster 2024, and in truth, we’re just happy to have made it through COMUI’s trials. We have to find some succour amidst all this, however, and music is one such means. In keeping with tradition, the UIMSA Press Entertainment Desk will be releasing two lists. The first, this, would highlight the best songs put out in the past year, while a subsequent publication would laser in on the albums from this period. Our rules are simple: songs that were released between January 1st and December 31st, 2024; recording artistes must be of Nigerian origin. Recordings are selected based on the quality of the compositions and whatever impact they had. Importantly, this list is arranged in no particular order so rest assured, we aren’t quite pursuing an agenda. Gerald, Peter, John and Simeon shall be your hosts. Beware, very long read ahead—let’s get into this, shall we?
First, we must get some honourable mentions out of the way, while these songs greatly excited our writers, they didn’t quite make the final cut for the 20-song list.
JUJU – Smur Lee, ODUMODUBLVCK, Shallipopi
Expensive Shit – Mavo
Pier 46 – Victony ft. KTIZO
Technician – ODUMODUBLVCK, Blaqbonez, Lekka Beats
Life of the Party – oSHAMO
Worldwide – Asake
Can’t Breathe – Llona
Intergalactic Heartbreak – Paybac Iboro, Monki Bznzz
HEIS – Rema
Repent- Maison2500
It’s a No From Me- DETO BLACK, chi
Cash- Zerry DL, Seyi Vibez
Chandelier–Monaky
“àbí you don forget?” x2
If you’re a TikTok regular, you most likely would have come across this sound towards the end of last year. It comes from Chandelier, the first track in Monaky’s sophomore album, Candor. With SoLid Keyz on production, this track was destined to be great. The intro to the beat drop features haunting vocals that usher in what has to be one of the best uses of ṣẹ̀kẹ̀rẹ̀ in afrobeats production so far. The ṣẹ̀kẹ̀rẹ̀ then fades into the backdrop, giving way to more heavy percussion instruments. The haunting vocals remain a constant feature throughout the entirety of the track.
The theme of the album is generally sincere, introspective and authentic. The track itself is about a tale of ‘breakfast’ he (Monaky) received from his love interest. With lines like: “when I text you, you reply emoji, you vacate my space, you no give notice,” “you left a star hanging, chandelier.” After crossing the TikTok barrier, it’s no wonder the track has the most plays on the album across streaming platforms. Monaky is currently one of the most unique voices in the industry right now. He employs a soothing, rich baritone that he uses to deliver very direct illustrations and captivating storytelling. The execution of the beat and storytelling came together so well that it would have been a sin for this record to not make this list.
Olokungbemi Gerald
Slow–Wizkid, Anaïs Cardot
Intentional or not, it’s become customary for Wizkid to bless his audience in the fourth quarter of the year. Made in Lagos in October 2020, More Love, Less Ego in November 2022, S2 in December 2023, and now Moráyọ̀ in November 2024. And as it is expected of every Nigerian A-list artiste, particularly the BIG 3, there has been numerous conversations, reviews, blog posts, tweets, and think pieces on this album. One distinct opinion is how the better songs of the album are in the second half. While that’s subjective, we cannot help but notice the beautiful recording that Slow ft Anais Cardot is.
Slow is another testament to the knowledge that the Afrobeats superstar has hacked his feature choices for RnB records. Anaïs, the French-Gabonese singer-songwriter, smoothly opened the track with a whispery tone before the entrance of a perfect complementary instrumental. It was a duet where Anaïs handled the chorus – giving her conditions for intimacy – leaving Wiz to the verses. And it’s not so far-fetched as intimacy pops first on your mind when Slow comes on. Wiz’s first verse gives off gratitude and reassurance; ‘gentle with my touch, gentle with my words’. His second verse slaps even harder; characteristic of the 2020s Wiz that floats on mid-tempo beats without necessarily saying coherent sentences. P. Priime, P2J, and Aod’s collaboration on the pristine production could have never been better. I could hear background rhythmical hits on the drums throughout the song giving a laid-back feel. Anaïs’ soothing vocals did its job in delivering a picture-perfect record fit for fairly windy late nights with sensual experiences, ones where you take it slow, because you really can’t pay for time.
Peter Adeyemo
The Internet Don’t Like Me–Abstraktt
I encountered the name “Abstraktt’, for the the first time, on a search for an Alpha Ojini single sometime in 2021. It was on ‘Crash Course’, his [Abstraktt’s] trap posse cut with hitters; Payper Corleone, Blaqbonez, and Alpha Ojini, recurring names on the +234 Hip-hop scene since 2019. Hard song. The name stuck as did his uncanny resemblance to DJ Consequence. But….the music didn’t. Freestyles, a few drops, and that cameo during the YP-DND comedy of a beef; were mostly negligible. Something was missing. Je ne sais quoi. That special stuff.
I can’t say for certain what changed. Or when ( I wasn’t watching closely enough). But on his June 2024 mixtape, The Yellow Tape, that stuff was on in full force, and at its most luminous on The Internet Don’t Like Me. The sub-3 minute track is a retelling of the experience of upcoming rappers, as a conversation between Abstraktt and a nameless ‘upcomer’. Over a hollow loop, and intermittent keys, Abstraktt – rapping as the upcomer – launches into the verse, “I always feel like the internet don’t like me/I post a dope ass freestyle, not even one comment on my IG/ I wonder what it might be”. It’s an all too familiar complaint. He goes on to talk about considering a Plan B (many a Nigerian rapper has a 9-5, with music as a not-so-paying aside), getting a dismal two retweets, and struggling to believe one’s actually as good as they think. In a genre that’s built on the foundations of being the best, doubt is a cancer that slowly eats at rappers, even the best of the lot.
Like Alpha Ojini’s ‘guy’ on the Outro to 2019’s Chameleon LP, the upcomer’s guy tells him he’s good but he doubts. He contemplates further, “Maybe na the angle, maybe na the video quality/How person wan shoot better for this economy”. Headloss. Then, like Cole on Love Yourz, Abstraktt offers a hand. “No worry, my brother very soon e go pay/As long as you staying true to the game/And if the internet don’t like you, I do/But remember, nobody can like you like you”. Sadly, it’s not enough. The upcomer responds in a chilling three-part harmony, “And if I die tonight, don’t save me please”. We hear a section of an actual phone call, Abstraktt stating his fatigue with the music, while the instrumental fades out. It’s like a callback to Dagrin’s If I Die, a sardonic foreshadowing of sorts.
Over simple production complimenting his cadence, and via a masterful execution of subject matter, Abstraktt tells a version of the Nigerian story that is commonplace, and yet original. The Internet Don’t Like Me is the Lost and Found’s Alternate Ending distilled into one verse (iykyk). It’s perfect. Perfect.
Eriomala John
Soh-Soh–Odeal
I’d first heard this in a TikTok, a wedding montage posted to the @tsi.tse account—perhaps the most alté wedding to ever wedding. Tsitse and Tofa Olugbemi were wedded in August of this year, and the short film featured shots from their court wedding, white wedding, afterparty and traditional wedding. They danced all the while in the back-and-forth style that’d taken over the summer, the Soh-Soh challenge. This track had the summer on lock with over 250,000 videos set to it across TikTok and Instagram. So it’s only fitting that it’d feature in our end-of-year list, among 2024’s best recordings.
Released as part of Odeal’s Sunday At Zuri’s EP in July, 2024, Soh-Soh quickly gained traction thanks to its easy style and heightened sensitivities. In the afro swing style typical of someone who grew up between Nigeria and the UK, Odeal makes his case to his lover over innocuous production, advancing his intentions with subtly risque lyrics. It is a remarkably charming arrangement, and it’s no wonder it’s been adopted by couples around the world to celebrate weddings. This one is for real lovers and real lovers only.
Okojie Osakwe Simeon
Borderline– Boj, Cruel Santino
This dream combo of alté giants finally dropped their highly anticipated track on what would be BOJ’s fifth studio album, 12 Summers, (excluding deluxes and joint projects) after months of dropping teasers all over social media. The track is everything you’d expect from a BOJ and Santi joint. Production, impeccable. Melodies, flawless. Lamba, spotless.
Tim Lyre and Demilade Akin-Alabi (more popularly known as Genio Bambino) had writing credits for the song. The man responsible for the production, Genio Bambino, in my opinion deserves more recognition. He has been a production engineering force in driving the alté movement across the Nigerian music industry. He is a member of three-man collective, Monster Boys, comprising of; himself, Cruel Santino, and producer GMK. He has worked with the likes of Cruel Santino, Odunsi (The Engine), BOJ, and even dropped a few projects himself.
The insane bounce of the beat was perfect for Santi to croon, “I’m so glad you came, baby I wanna go the borderline/ me I go all the way,” on the chorus while dancing the Santi jig! BOJ delivered his verses in his characteristic laid-back, sunset-on-a-beach manner. Fitting seamlessly into the track, singing lines like “… everybody know sey I too sabi o/ champion like Bash Ali o/ girl I’m all in, not partially o.” The chemistry between both artistes is not surprising, they are both pioneers of alternative music in the country. With their incredible range, either of them can gel just as seamlessly with almost any artiste in the world. For a conceptual album, 12 Summers definitely fulfills its purpose and Borderline is the perfect display of an alté summer.
Olokungemi Gerald
Apology–taves
Toluwanimi ‘taves’ Aluko’s Are You Listening? EP deserves a standing ovation. The eight-track EP took listeners through a journey of sonic brilliance; a body of work worthy of multiple spins till the ears bleed. The urge to replay is nowhere more evident than the last track, Apology. The Saszy-produced record opened with taves humming melodiously to the rhythmic strings of the keyboard and then a backup soulful chant before the first verse. taves expresses regret and deep yearning for his lover’s attention and affection.
The ‘you don’t know the value of something until you lose it’ phrase couldn’t be interpreted any better. The Ibadan-bred flung his pride out the window from the first line stating that he had the best of time with his lover. Navigating a downpour of emotions and soundscapes portrayed the star’s skill in a different light. The backup vocals had a lovely chemistry with taves’ voice, perfectly complimenting a record filled with such emotional depth. The intentionality in lyrical delivery is not also unnoticed. Tolani should take the blame, but taves didn’t mind taking it all, I guess ‘real lovers’ found their way into the music industry, or maybe it’s just a facade anyway.
Apology communicates an intentional curtain drawer to a body of work laced with a rollercoaster journey while weaving tales of love, romance, escapades, and other youthful exuberances left out into melodies. Also, Saszy’s blend of percussion and string instruments is plaque-worthy.
Peter Adeyemo
21–Ayra Starr
“My, have I waited for this song. My oh my! It’s an Ayra ballad. It’s the lost art of emotional explosions over tightly-knit lyricism. It’s one of those songs I must get a live performance of. The second verse might be the best on this tape; a short, vulnerable journey of her life, so far. ‘Cause truly, it doesn’t get better than 21. The whispers of “Not 22” as the song closes tell another story of their own, more than living in the moment. There is power in the tongue and I want what they had in the writing sessions for this”
The extract above is from my first listen in June, somewhere around the Seme border. Emotional as they are, those lines do not truly explain how beautiful a recording this is. I’m not even sure the ones I’ll write now will suffice. You see, 21 is a ballad. We don’t get so many ballads in the mainstream. They’re tasking to write. Barely convert to radio. And require the vocal prowess most artists lack. Not a problem for Ayra.
From “You say, you say, I’m too young, too foolish/Well, I became myself ‘spite what you said” to exploring insecurities to that pocket before the chorus where she dons the Nigerian garb of adura in the face of a hating ass man, Ayra sails like an aura. “What am I supposed to do with what I’ve done/Where did all the years go?”, she sings, and breaks down the years leading up – self-discovery at 10, the rush of 11-16, artist development at 17-18, the bag at 19, and tears at 21, each drop its own story. There’s so much questioning. What’s the right thing to say at 21? “I’ve never known, never tried, never loved” How do you love yourself at 21? This existential angst rests in the air, settling, as she sings, subtly, “Not 22, Not 22”, vocals panning till 2:22.
Songwriting aside, this song shines thanks to its placement on the album, smack-dab in the middle, and the transition to the more soulful aspect of her sophomore LP. It also shines for its remarkable production; a kaleidoscope of colourful guitars, a pulsating piano, and minimalist drums. Hats off to the production trio of Fwdslxsh, Kill September, and Mike Hector, as well, and to the genius responsible for the dashes of harmony on the chorus and her ad-libs (I reflect, that subtle damn). To circle back to the songwriting, ex-qui-site is the word. This could easily have been a corny attempt at humanising the artist. It was far from that. And so, for this authenticity, we say, God bless Ayra! (and Adeyinka Bankole, Mason Tanner, and Mikael Mannonen).
Eriomala John
CRAZY SEXY PERFECT GIRLS–Leather Park, Odunsi (The Engine), Bella Shmurda
Crazy, sexy, perfect girls all around the world. Like all the greatest works of our time, Leather Park’s CSPG is inspired by bad bitches. No, I’m not talking to you, Siraheem. In any case, this composition sees Odunsi finally collaborate with Bella Shmurda, an artiste who he’s held a long-time admiration for. And after delivering massively on Cruel Santino collaboration, DOG EAT DOG II, Bella enhances his credibility with a flawless entrance on this track. Already known for embracing alternative fashions, Bella’s foray into the underground music scene could yet prove wildly successful, and if the creative direction of his next album is influenced by this odyssey, we can expect fantastical sounds. Odunsi on the other hand flexes his production skills on this track, embracing warbling chords and the electric guitar in addition to evocative drums. This song enhances the alté all-father’s credibility as not only one of the best recording artistes, but one of the best producers on Nigeria’s shores. CSPG, for girls with demons under their skirts.
Okojie Osakwe Simeon
Synchro System–Olamide, Pheelz, Young Jonn, Lil Kesh
This YBNL reunion was beautiful to see. Olamide teamed up with Lil Kesh and two former in-house producers in Young Jonn and Pheelz (who have both gone on to become popstars in their own right). The title of the song paid homage to King Sunny Ade’s classic of the same title. Pheelz was on production, first verse and chorus duties. I think the most striking thing about this song is the introductory shaolin-esque strings that later got infused into the base drill beat. If you ever doubted the genius in that man, this is another proof that you should check yourself!
Going first, Pheelz set the tone with his melodic rap. Though not characteristic, I think those in the know realise what a great songwriter Pheelz is, especially since he stepped into his recording artiste bag, so I didn’t think it was unexpected. Young Jonn went next, delivering a solid verse. Considering the fact that they both went up against Lil Kesh and Olamide (arguably two of the most talented Yoruba rappers over the last decade), Pheelz and Young Jonn held their own. Lil Kesh was next, and personally, I think he had the best verse. His entry was just too smooth, rapping, “this gbedu make me want to jogodo, dance like there’s tambolo in my sókótó, o lọ far, from Ìjèbú to Sokoto.” Baddo delivered his verse last, and as the boss, he absolutely killed it. In recent years, we have come to see a more mature, refined and braggadocious Olamide. Some like it, some don’t, but his verse on this track showed a slight peek into the former Badoo. Although not on the Eyan Mayweather level, the baritone that now usually permeates his voice was taken off a bit, making him sound a lot like a younger version of himself.
Synchro System is the outro of the IKIGAI album, a surprise project from Olamide. The track is a celebratory tune of sorts (YBNL were heavily in their thanksgiving bag last year), and all the artistes impressively displayed their lyrical abilities, combining swagger with thanksgiving on an incredible production.
Olokungbemi Gerald
Manchester–Seyi Vibez
Every Loseyi’s project, EP or LP, gives off a different – or unique – feeling to a listener. It’s the reason NSNV is Tope’s fav, BDB is Dayo’s fav, NAHAMciaga is Kunmi’s and Loseyi Professor? Probably mine. What about it? The EP as a whole and, more importantly, the individual records in it. And if we are splitting and sharing tracks, please just leave Manchester for me. Dibs, for the umpteenth time, outdid himself on that record. The solemn percussive instrumental at the beginning before Dibs’ tag is the first point of attraction. The braggadocio in ‘Won wa mi Manchester, I killed the show oh’ as the opening line gives off a ‘no humility’ zone here. For who cares to listen, the doings extended to building newsworthy steads and the continuous search in Germany.
The subsequent lines might be the reason I resonate with Manchester a little too much. The declarations in ‘Person wey don get, backward never. E go better, e go better, Emi gbadura fun awọn to t’alaka’ felt very spiritual. They are lines that you might echo more fervently – and sometimes subconsciously – in dire need of the intervention of a higher power. The declaration is followed by ‘I go jump inside if my money dey ṣalanga’ which is really the energy for 2025. Even the places worse than ṣalanga? I’m jumping in without second-guessing. Dibs might have not done many extras on the production, and in my opinion, he didn’t really need to. The accompanying vocals reinforce the celestial nature of the song and multiple spins might just take you across this verse with mortals. Manchester, just like every other song on this EP, exudes a more lyrical and musical aspect of SV. Olúwalósèyí.
Peter Adeyemo
Lagos–Seyi Vibez
In July of last year, a good friend of mine, Favour Bamijoko, wrote on the Demise of Social Activism in Nigeria’s Music Industry. With history as a backdrop, he explored the nature of contemporary Nigerian music, and how it is lackadaisical towards reflecting the nature of our society. How very little of our songs decry injustice and how mainstream music can not soundtrack political mobilisation. A standout moment from his treatise would be this stretch in the final paragraph, “The country is not a middle-aged teenage girl sobbing over a breakup. Nigerian artists need to step into the vacuum and be a tool for social mobilization”. I agree. Not fully, but I agree. And I think one problem lies in where we look.
Enter Lagos, the intro On Seyi Vibez’s Loseyi Professor EP. It’s a concept-track centered around four characters; Abobi, Soldier, Soldier’s wife, and Seyi, the distant observer. As the story goes, Abobi impregnates Soldier’s wife while Soldier is away on duty. Soldier discovers on his return, traces Abobi to his house, and carts Abobi away. Abobi doesn’t return three days after the ordeal. Everyone is worried. Simple story, really.
It’s that simplicity, that narration, that makes Lagos such a captivating record. With a choir backing him up, trumpets punctuating his narration, electric guitar strums, and producer Dibs’ signature reverb as a soundscape, Seyi weaves through so much of the strangeness of Lagos. In Lagos, infidelity is rife, everyone is oppressive – from LASTMA to VIO – and security personnel are not your friends. In Lagos, poverty co-exists with obscene wealth (“Multibillionaire na my neighbour, but I no dey ask for favours). In Lagos, a PH boy – Abobi is Port Harcourt slang that roughly translates to ‘guy’ or ‘gee’- can fall in love with a lonely soldier’s wife, who has seen no action since her husband departed for the war theatres of the North East. In Lagos, everyone prays to a God (“Iwájú ni mo n lọ, ki n ma padà sẹ́yìn, Seyi ma padà sẹ́yìn ” – I’m going forward and I will not return to my beginning. Seyi will not return to his beginning) and everyone seeks igbadun, enjoyment; for Seyi, it’s a shot of Don Perignon. And in Lagos, extra-judicial killings happen while the world looks on. The TG Omori-directed video for this song shows Abobi being killed and a military tribunal where Soldier is sentenced; an unlikely scenario in reality. In our Lagos, a budding journalist can be murdered in the full glare cameras and yet, his killer goes free. That’s our Lagos.
So yes, there’s social commentary in the Nigerian music scene; most of it is done by street artists. It’s just a matter of digging below the surface. By the way, no more Loseyi stocks for anyone. Hustle your prophet.
Eriomala John
Bad Girl–Wizkid, Asake
Vintage Wizkid, I cannot understate this. Morayo in many ways was an attempt by the afrobeats legend to wrest control of the dancefloor once again after a few years of fans feeling alienated by a style increasingly designed for western appeal. In Bad Girl, Wiz succeeds in all ramifications, and who better than the hottest producer in afropop currently, P.Priime, and statistically, perhaps the best Nigerian act of the past two years, Asake, to help propel him to these heights.
Yet, Wizkid outshines his guests with a verve typical of his younger self. Floating over P.Priime’s drums, he serenades his lover, savouring the high he gets when with high. Taking it up a notch, he goes, ‘Ta ba penkeleme, ka ma lo. Say this is one is till eternity,’ evoking his desire to be bound to her no matter the circumstances. It is an exercise in hit-making, combining heartfelt but uncomplicated lyricism with a breezy rhythm just at home on the beach as in the club, all while maintaining an easiness that would make modern Wiz music in a way ‘vlog/fit-check-friendly’ for better or worse. The point is, a song like this is hard to hate, and in a year that has seen reduced output from the other members of the ‘big three’, Wiz alone props up the old guard at year-end. Long may he continue.
Okojie Osakwe Simeon
Alhamdulillah–Tml Vibez
Dapper, its affiliates, and their boys definitely had to have been on steroids in 2024. Releasing about 20 albums last year, it secured the spot as the top Nigerian-owned record label in a 2024 market share report. Between May and July, the label, through its subsidiary Vibez Inc released a record twelve projects! Amongst this flurry of projects comes Xin Mao, Tml Vibez’s third project. In this five-track EP, is the goodness that is Alhamdulillah.
On production is Dapper’s Grammy-nominated in-house producer, Dibs. He combines the bounce of log drums, strings and even flutes to produce a chill and amble beat that Tml floats on effortlessly. The track itself as you can guess from its title is a thanksgiving song to God for how much He has blessed him [Tml]. With lines like: “Baba blessings all over me/ wón lè, dem no báni/ tell them the love and the grace is so valid,” “I dey go up up way, Alhamdulillah for life.” He goes further to flaunt his lifestyle and to pray for his friends too. “On my right side, on my left side/ mon gbọmọ mẹfa,” “I tell God jowo bami, run am for me no forget my padi.”
Tml Vibez had his breakout year in 2024, rising to street consciousness in late 2023 after he featured Seyi Vibez on Goated. In addition to his other hugely successful tracks like 365 Days and Maria, Alhamdulillah was one of the best Afro-Adura songs of last year. Tml Vibez continues to make significant strides in his part of the music industry, he has already gathered street credibility and a loyal fan base. We can’t wait to see what he has in store for us this year.
Olokungemi Gerald
Hell and Back–Fireboy DML
Track no. 4 on album no. 4! First things first, it must be said that, of all musical instruments, the saxophone took the shine on adedamola. There’s barely any track where it wasn’t explored in the production and that’s probably my first favourite thing about Hell and Back. The drums setting the mood for the saxophonist to glide in is proper production from Nxrth, ForeignGotem, and South. taves was the one filled with regrets on Apology but on Hell and Back, it seems like the other way around. Damola sings to Ọmọ́tọ́lá who he knows she hasn’t found a replacement since she left him, and now wants him back. Musically, love and heartbreak-themed songs are DML’s forte and you can bet on him to deliver 10 out of 10 times.
One striking thing that sets Fireboy apart from his peers, which is also a point of conversation anytime he has a project out, is his writing. He communicates so succinctly without sacrificing the essence of melody. His first verse is him acknowledging Ọmọ́tọ́lá’s yearnings for him in a not-so-subtle sensual way. The crescendo in his voice at the transition between that verse and the chorus and the sax’s background complement speaks to the level of production. And to the best parttt? The second verse! The transition between the chorus and the second verse reminds me of Asake’s second verse on 2:30; the energy is so similar. The use of alliteration and assonance in the opening lines makes it very catchy. At some point in that verse, it felt like the lover boy was about to let his guard down but he closed it standing on business. Overall, it feels like one of those timeless records that would always take you up your seats, just like LTG’s Vibration.
Peter Adeyemo
Turn Me Up–Tems
Tems is a wicked woman. In retrospect, she did warn us a couple of years back, that there’d be no more Damages – for her, not us. She also told us that Crazy Things were happening. Some heeded the warnings, yet, we could not escape. Like me, gasping for breath when the first notes came on on track 14, titled Turn Me Up, off her debut album. This song could easily have been named ‘Tems Channels the Spirit of Sade Adu Over Ragga in a War Chant for the Ages’ and I wouldn’t bat an eyelid.
To better understand the emotions, please report to YouTube for a visualisation of the phenom. Watch the video the first time. Inhale. Watch it again. Do you understand? If you don’t, stay off this article for a little while. It’s a matter of national security.
All jokes aside, the video captures the ambience of the recording. It’s a d**k-swinging record! A sharp contrast from the smooth RnB of Ready, the Afro-pop bounce of Get It Right, or the hip-hop fusion of T-Unit, elsewhere on the project. On Turn Me Up, Tems takes the elements that make these others pop, and mashes them into a young millenial battle cry. “Fall back, it’s a big shot, it’s a big shot/ Fall back, it’s a rim shot, need a big stack/Fall back, it’s a big back causing big shock/Fall back, it’s a headshot”. She shows us that she’s not the Bond girl. She’s Bond, herself. 007. Or more accurately, 0010, as she sings in the second verse, “Open your eyes, I’m a ten, not a nine/Number one, not a two, not a three”. In that same verse, she slips into patois and a ‘-tion’ scheme that would make your favourite rapper happy. It’s not forced. But the effect is forceful. Her vocals land on an interspersed kick-snare combo that serves as a spring of sorts, propelling her higher, and higher, brimming with the chorus, and climaxing with the third verse. “Back then when it wasn’t looking good/Back then when it wasn’t looking fun/No one could ever steal my juice/I’ll put you in my mouth and chew”.
It’s the sort of music you’d expect in the closing stages of the second act of an all-star female-led action movie. It’s too late for Furiosa. But it’s definitely for a femme fatale film, with protagonists racing towards the villain. You see, I had never really thought of Tems pulling off a falsetto. The woman can sing. No doubt about that. Turn Me Up just solidified that fact further. Breath control. Her runs on that second verse, in particular, (“fine girl, no issue”) inducing gooseflesh. From belting a mezzo-alto to an almost-baritone in a matter of syllables. Channelling the imperial Ṣadé Adu? That’s class.
Eriomala John
MMS–Asake, Wizkid
A second Asake, Wizkid and P.Priime entry in this list, and what can we say, that trio is just peerless. MMS comes across as a prayer, a steady rhythm that calls all to worship. ‘Oye Olohun’, the pastor chants, and all knees buckle in prayer. ‘Ki la mu wa aye? Ko soun ta mu waye, ko si nkan ta ma mu lo.’ Still, the saxophone strains in the background. Amidst muted back-up vocals, this solemn arrangement sees Ayodeji Balogun touch on the death of his mother and the grief that followed. Further still he explores his upbringing in Surulere, grateful for all things despite it all. It’s a sobering verse, reflecting deep introspection and a coming to terms with the events of August 2023. It’s a rare window into the typically well-guarded psyche of the Essence crooner, dissecting the heaviest of emotions.
Asake on the other hand is just as introspective, only looking inwards at his artistry in this case. The meaning of the title becomes apparent at this point, ‘Mr Money Sound’. He’s come a long way from his days as an undergraduate, setting teeming student crowds alight with the upbeat Joha. It’s a mark of his evolution that he has gone further in honing his craft in the years since, not stagnating in the ‘afropiano’ style that saw him break through in 2022, seeking fine margins at every turn. Lungu Boy is a deviation from what came before and MMS encapsulates that.
Okojie Osakwe Simeon
APALA DISCO – Remix–DJ Tunez, Wizkid, Seyi Vibez, Terry Apala
For this writer, this track took quite some time to stick because of how much I loved the original track with just DJ Tunez and Terry Apala. However, trust me when I tell you it did stick. This remix is the second remix of the original track, coming after DJ Tunez collaborated with Chief Musiliu Haruna Ishola himself and Terry Apala for the first one. When snippets of the jam got posted on social media, this writer was excited and a bit uncertain wondering what a Wiz, Seyi Vibez and Terry Apala amalgam would sound like.
Starting with the production, DJ Tunez struck gold when he came up with this. It is quite literally a cultural synthesis, a fine blend of traditional Yoruba percussion instruments with a modern twist of electronic beats. It is both raw and refined. It is so good that you won’t even know when you start rocking along to the beat. In about twenty seconds, Wizkid reminded everyone why he is Big Wiz. Such beautiful vocals! He casually glided on the production. In that short verse, he touched on flaunting his lifestyle, hustling for more money and then thanking God. His vocals lingered on in other parts of the song as backup. Seyi Vibez’s entry was so sexy. I mean he literally made his entry with “Naturally sexy!!!” Seyi’s verse was packed full of lamba, he did his thing, delivered properly and then bounced. “I’m in the mooddd, to talk to you, wetin dey worry you, na me and you.” I don’t think I can count the number of times I randomly sang those lines at the top of my voice last year.
Terry Apala might have finally hit his “big break” with Apala Disco. He has been a vanguard that had been pushing the genre onto the world stage for years now. With this track, the world is definitely listening. The unique texture of his voice has been a constant in all the versions of the song.
Olokungbemi Gerald
Risk–Victony
Audacious record in an audacious project. So many songs with a fair shout to make this list but Risk is just so exceptional. The slow-tempo pop-esque record has some faint trap-infused elements in it which takes listeners on a journey of hedonism with unadulterated lyricism. And it is nowhere more evident than in the whispery vocals at the beginning saying ‘Come make this money rain on me’. Subsequent lines in the chorus glorify a creature worthy to risk it all for; fit, kicks, face, derrière, all set. In all honesty, I would risk my all too. I didn’t quite pick the exact percussion instrument used in the background, but it gave this fuji feel to the production.
The first verse sounds like a flirtatious conversation between the outlaw king and a shawty in the club on a random night. ‘Love in the club, no be weytin you dey find. Excuse me, shey you know this your behind dey cause me trouble…’. That thing a** does to grown men. They say you audition for the love of your life and maybe Victony took the cue. On the second verse, he cut to the chase, straight up to the dirty talks. ‘F*ck me ‘til your body speaks to me again’. Despite the bluntness, at most, you could tell that it would be an experimental affair. P. Priime complemented the soundscape almost perfectly, leaving listeners to desire more and more. The production is one that’s not so common, and this was clear across other records on the album. In recent years, I think Stubborn has the best production, talking about debuts.
Peter Adeyemo
RESURRECT–Leather Park, Odunsi (The Engine), BNYX, Jeriq
2024 was the year of the bounce. Azanti and YP delivered a top rendition of Brazilian funk on Naija Funk. Ruger also tapped into the genre with Toma Toma featuring Tiwa Savage. Then there was DEELA’s Patience Ozokwor which featured y2k raps over a Genio Bambino Jersey club production, assisted by serial ‘bouncer’, Tẹ́nì. In the diaspora, Len’s CHAKRA caused a fair deal of problems with its Makossa rhythm. All solid songs. But there was one true ambassador. One Lisan Al-Ghaib. Let’s all rise for the national anthem, RESURRECT.
When I say ‘national’, it’s in reference to how many hands came together to make this. The highlife elements and Atilogwu-sounding drums came from American record producer, BNYX (pronounced ‘Benny-ex’), chorus and first verse from Yoruba boy, Odunsi, and banger of a closing verse from 042’s finest, Jeriq. The one thing left to elevate this track into legendary ‘One Nigeria’ stratosphere would have been hearing one of Jeriq’s three key tags, “Sambalichwa!” (other two are ‘Ogwe!” and “Iyo!”), and the oja in place of those repeated whistles. Or maybe that’s me being greedy.
RESURRECT is momentous from start to finish. In classic Nigerian baller fashion, Odunsi sings to his interest, “Show you my wrist, Show you my time/Top of the list, One of a kind”, and tells the shorty to ‘see his shine’. Could be a Rollie. Could be an AP. (Father, help thy children to also ṣana). But he sings in such a non-confrontational manner that it’s more cute than it is hard. “Nobody know tomorrow, e be like say life dey”, indeed. The chants of “RESURRECT!” on the chorus are fodder for the jolliest of mosh-pits, as seen here.
Afterwards, Jeriq slides in, ever tongue-in-cheek, “Zero potopoto in my zone/ ogwe, I run town in my gallardo” to “I have an appetite for Ebele/Stacking these Benjis up to the ceiling”; closing with a nasty pocket where he rhymes Istanbul and Eastern Bull, before alluding to resurrecting like Jesus Christ.
This is not the kind of music you force. If it didn’t dey, it just would not dey. It’s a solid collaboration, particularly an exhibit of Odunsi’s status as THE culture. One more thing, shoutout to BNYX for the keyboard thrills and switches throughout the track. Naija producers better stand up.
Eriomala John
Oblee (Remix)–Dj Yk Mule, Slimcase, Kashcoming, Qdot
Kini definition Oblee? Oblee cannot be explained, it can only be experienced. The Detty December anthem has taken Nigeria by storm and represents a massive culture shift… but it’s been years in the making really. This remix was first teased in June of 2024 after the original iteration attained virality. It bode well, DJ YK is known for … beats on TikTok with equally catchy dance videos, and critically, his songs do not typically have vocals. Bar the constantly repeating Seyi Vibes refrain, the song was all instruments, and if any rappers could ride this beat effectively, it was a definite hit. Enter Slimcase, Kashcoming and Qdot. Slimcase in particular is a legend of the South-West street scene. First breaking through in 2017, his, for lack of a better word, crazeman style has seen him gather plaudits and rise to a Godfather of a style that would precede what we today call Mara. The Yoruba root-word roughly translating to ‘madness’ came to define a style borne from the street artistes of the 2010s, Slimcase, Reminisce, Terry G and others influencing a new generation of artistes from 2019 on. And firmly placed among this new generation was DJ YK Mule. From Slimcase in some ways birthing DJ YK and the entire Mara scene to featuring on the mainstream breakthrough for that genre, behold the ouroboros. First breaking through digitally during the COVID-19 pandemic, DJ YK would leverage TikTok heavily alongside his peers in the subgenre and in time transition to dancefloors across the country.
Oblee though, nearly five years later, is the springboard to stardom. The catchy track features expert production, and with such a detailed beat structure, the remix ran the risk of feeling cluttered once the vocals were added. The expert features however were careful to ‘allow the beat breathe’ and the result is a song that feels new at every turn, constantly changing, constantly urging legs to the dancefloor. It’s beautiful layering and really is an example of the detail in some of these Mara hits which people are so keen to look down on. For me, this is high art—and for the ‘TrenchTok’ scene, this importantly breaks new ground, it shows that a share of the mainstream market is possible. An exciting 2025 ahead.
Okojie Osakwe Simeon
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