Tag: africa

How a Global Pandemic Pushed Amapiano to the World

June 13, 2024

You can’t search for South African music today and not have several Amapiano artists appear in your results. The genre has surged across global dance floors thanks to collaborations, the growth of digital music streaming, and an era where viral dance challenges brought exciting snippets of its distinct sound to the world.

But how did these elements collide in an era of social distancing and get Amapiano on the world stage?

Socially distanced connections

Amapiano was already growing by the time March 2020 COVID-19 restrictions hit South Africa and the rest of the world. It more than doubled its 34 million Spotify streams in 2019 to 102 million by the end of the first year of lockdown. Pandemic-induced separation caused a countrywide craving for connection. Live-music events were banned, so artists couldn’t tour or perform.

Four years before South Africa’s first lockdown, less than half of the country owned smartphones. By the end of 2019, this number rose to 92%. More people than ever before were connecting to the internet. Even though data costs were high, mobile internet use grew as the 18-to-24-year-olds who predominantly use social media in South Africa spent more time online. This has translated to the streaming industry, too, where 84% of all Amapiano streams on Spotify are on mobile, and 18-to-24-year-olds account for 40% of all Amapiano streams. 

Youth culture goes digital

As young people in South Africa looked for new ways to connect with friends, dance challenges sparked their imaginations. The fact that they couldn’t groove didn’t stop them from combining their flair for dance, with Amapiano tracks that were trending on messaging apps. Social media gave them a way to show off their moves and get others to imitate them.

Social media dance challenges that emerged in 2020 like the #Johnvuligatechallenge, JazziDisciples dance challenge, and the #Amanikinikichallenge marked key moments when youth culture connected with and amplified the genre through social media.

This moved the genre from its underground club roots and across the country when commercial radio picked it up. Dancer and Amapiano hitmaker Kamo Mphela says, “Music doesn’t move without dance. I don’t think both can exist without each other.”

Before Amapiano entered the streaming era, artists got their music out however they could. “We were selling CDs hand to hand,” says DJ and music producer DBN Gogo. Artists tapped into social media to brand themselves, share new tracks, and sell merchandise. But monetizing their work remained a challenge.

Artists take their work online

Pandemic restrictions on live events meant many artists lost their income. Some resorted to loans or selling their equipment to make ends meet. And young emerging musicians were worse off because they didn’t have the networks or the savings to support themselves.

Amapiano artists found new spaces for their music to thrive—think Major League DJz Amapiano live balcony mix. Kabza De Small and DJ Maphorisa had to cancel the highly anticipated Scorpion Kings live show in 2020, so they launched PianoHub TV to keep the vibes going.

“Thank God for platforms like Spotify where anyone, anywhere in the world, can go and search the music, so it can reach the people that way,” says DBN Gogo.

Spotify also supported artists in a number of ways, including adding a feature that allowed musicians to use their Spotify profiles to raise money to support themselves. Spotify further platformed Amapiano culture by documenting the sound’s global growth through a documentary titled Music that Moves and promoting Amapiano playlists to wider audiences.

Fan-made playlists are a telling sign of the impact this had. In 2019 there were fewer than 800,000 playlists that featured Amapiano tracks. In 2020 this grew to just under 1.2 million playlists, then to over 2 million playlists in 2021.

Outside of the income artists make on streaming platforms, Spotify puts them in the driver’s seat with data tools that let them see how their music is taking off. “Technology is making things way easier to stream and download. That’s probably the reason why [Amapiano’s] moving so quickly,” says Aymos. DJ Lady Du reflects that with streaming platforms, “it becomes easier for us to get bookings outside [of South Africa].”

Lockdown era collaborations takes Amapiano international

Hits like Kabza De Small’s “Sponono” featuring Afrobeats kings Burna Boy and Wizkid made Amapiano’s explosion on the world stage inevitable. Amapiano grew its international reach even further when Davido featured on Focalistic’s “Ke Star” remix. Vocalist Sha Sha topped off the genre’s international moment in this era by bagging the “Best New International Act” award at the 2020 BET Awards.

Collaborations and accolades like these kicked off Amapiano’s fusion with genres like Afrobeats and took South Africa’s township sound to a new level.

A music movement supported by a digital revolution

Even in a country like South Africa, where many lack internet access, music lovers will find ways to party to their favorite Amapiano tracks. This is how an online culture fostered during a global pandemic, helped turn Amapiano into one of SA’s biggest exports.

Amapiano’s Origins: Taking Root at Home, Then Spreading Seeds Globally

June 13, 2024

The sound of Amapiano is like prolonging moments when, in South African townships, the sounds of everyday living merge with the music that forms the bedrock of daily life there. Before dawn, a hymn sung while sweeping might match the rhythm at a nearby lala vuka (all nighter). One afternoon, the rain overhead might intensify to match an aunty or uncle’s favorite part of a jazz song. Nobody’s dog could bark an ad-lib to the bassline playing in a passing car. Amapiano plucks what is almost in the township air and originates sound, dance, fashion, lingo, and overall culture from that.

Amapiano was invented in the townships at the outskirts of South Africa’s towns and cities. Known as kasi in slang (derived from the Afrikaans lokasie), the township was created by apartheid spatial planning to house Black people. Dikasi (plural) were designed to be barren places where nothing would grow. But instead, South African townships became greenhouses for culture—especially music—to germinate, take root, and become sources of life for the oppressed people living in them. 

Amapiano borrows its keys and melodies from jazz and gospel, its drums and tempo from house music and diBacardi, while Kwaito loans Amapiano its basslines and harmonies.

Jazz music grew in South Africa in step with its popularization in the United States. It became not only a source of entertainment, solace, and escape, but also an instrument with which Black South Africans fought against apartheid. You need only look at the names of some current and past Amapiano acts to make the connection between jazz and Amapiano—Jazzi Disciples, Mapara A Jazz, and Mr. Jazziq are a few. One of the other ways Amapiano borrows its melodies from jazz is by reworking South African jazz standards. Focalistic does this to great effect by using the melody from guitarist Jimmy Dlulu’s “Winds of Change” on his Tiya Mfana release with DJ Tshegu.

Gospel music, especially choral, has been composed and sung in churches, homes, at funerals, celebrations, and anywhere else a higher power needs to be summoned in South Africa. Some of Amapiano’s most popular singers developed their voices in the church. For example, vocalist Babalwa M, who frequently collaborates with Private School Amapiano Dean of Faculty Kelvin Momo, told True Love magazine, “I lived in a Christian house, I obviously used to go to church. So, we used to have youth services and we’d have an opportunity to showcase your talents.” 

Kwaito music was the sound of a generation both witnessing and creating a nonracial, democratic South Africa. The slowed-down dance songs from across the world matched with young South African vocalists in the 1990s, and together they created Kwaito, the iconic sound of the country’s liberation.

In the late 1990s and early 2000s, Afro, Deep, and Tribal House became popular as access to records from outside the country became increasingly available and affordable. This helped to develop South African dance music’s groove sensibility. And when diBacardi entered the scene, mushrooming from Pitori, the greater Pretoria area, it also grew into an important influence on the South African dance music scene.

The styles of music that Amapiano borrows from are still popular in South African townships and continue to cross-pollinate, influencing each other while remaining firmly grounded in their own respective histories.

“The last time we saw a uniquely South African genre paint a clear picture of the state of South African groove culture was with Kwaito spearheaded by youth. What Amapiano has managed to bring with it from the ground up locally and eventually globally,  is admirable, not only from a music point of view but also cultures’’, says Phiona Okumu, Head of Music at Spotify Sub-Saharan Africa. 

At first, Amapiano had a divisive ethos. Little was known about this movement and the music at the center of it by observers outside its circles of initiates. Generally, Amapiano punters were notorious for brazenly pursuing epicurean excess. Kabza De Small and Lehleza released the “Amabele Shaya Remix” music video as the tide began to turn for this style of music. For outsiders, that music video was a glimpse into a culture that was seductively inaccessible. “Amabele ebusweni bendoda / Amabele ebusweni bendoda / Amabele ebusweni bendoda / Amabele ebusweni bendoda” (roughtly translated to “breasts on a man’s face”) a tank-topped, sweaty Leehleza repeats the song’s refrain to partygoers in a nondescript warehouse. Many wanted to be in that video, while also happy to be a safe distance away.

The greater South African population had another taste of this sweet taboo in Semi Tee, Miano, and Kamu Dee’s “Labantwana Ama Uber,” in which the chorus is a thinly veiled reference to drug use and sex. Amapiano music was being lapped up and danced to by all South Africans and creeds by the time Mapara a Jazz, Colano, and Ntosh Gazi’s “John Vuli Gate” became a hit single, dance trend, and the reason for the most modest and upright citizens of the Rainbow Nation to collectively clutch their beaded necklaces and kiss their teeth in disapproval.

Since then, the Amapiano movement has evolved in different directions. Its dominance of mainstream music in South Africa and entry into the global dance music arena made it necessary for producers and vocalists to consider different styles of Amapiano to fit different occasions. 

Over the past decade, Amapiano has watered and warmed the wildest dreams of its artists, most of whom come from the underserved townships at the outskirts of the Gauteng province’s cities. And where there were scraggly shrubs of careers not so long ago, there is now a forest of artists, managers, choreographers and dancers, stylists, content producers, and other professions beginning to thicken all thanks to the Amapiano movement.

And while Amapiano developed musically, it also sprouted branches in dance, fashion, lingo and overall culture that have made Amapiano a movement. This is what is truly exciting about the movement, is that while the music continues to spearhead it, the Amapiano movement is fast becoming a way of living founded on the idea of making something from very little, backing dreams with hard work, and having the time of your life while doing it.

Why Amapiano Wins Hearts and Minds as It Travels the Globe

June 13, 2024

Amapiano is a force to be reckoned with on the global music stage, and this is thanks to its influence on popular culture. “Spotify provides a home for Amapiano to grow, with 55% of the music getting played from outside South Africa,” says Phiona Okumu, Head of Music at Spotify Sub-Saharan Africa. 

The heroes of the Amapiano movement are also getting deserved recognition. From Uncle Waffles being the first Amapiano DJ to perform on the Coachella main stage to singer-songwriter Tyla earning a Grammy, this distinctly South African dance music is now being adopted into mainstream culture across the world.

As the sound evolves and its thriving culture spreads globally, it’s important to unravel the crucial moments that stimulate this global success and contribute to Amapiano’s over 1.4 billion streams in 2023 on Spotify. 

Africa embraces Amapiano

Amapiano got to the rest of the world by traveling through Africa. As this township house sound came to define Johannesburg’s nightlife culture, musicians all over the continent tuned in. Its journey began with West and East African artists experimenting with the sound. Some visited South Africa to work with local Amapiano acts, while others added and infused Amapiano elements to their productions.

“The results of these experiments show up in our data today. Cities like Lagos, Port Harcourt, Lusaka, and Gaborone stream the most Amapiano outside of South Africa,” says Phiona.

Ghanaian producer Juls released “Soweto Blues” with South Africa’s Busiswa. Nigeria’s Tiwa Savage gave “Dangerous Love” the Amapiano treatment with a remix from South African producer De Mthuda. Rema’s hit single “Woman” brings Amapiano drums and saxophone together with kicks and percussion from Afrobeats. Wizkid’s “Bad To Me” and “2 Sugar” are songs that showcase the sonic embrace between the two genres.

“Back then these songs gave more artists across the continent permission to make Amapiano their own,” says Phiona. Amapiano’s DBN Gogo says this is important because music can build a shared understanding across cultures “when people make it their own and try to merge it with their own genres.”

This is how Bongopiano emerged from Tanzania, where Swahili lyrics on hypnotic dance beats give Amapiano an East African twist. Moroccan DJ Flomine says, “When you mix Amapiano with traditional Moroccan music [Gnawa], it connects people. And when you introduce live instruments, people just love it because they feel like we are exchanging culture.”

Television takes Amapiano from SA to the USA

The small screen enhances Amapiano’s cultural currency. South African drama series like Youngins use Amapiano soundtracks to bring the rebellious and trendy energy of the high school drama to life. The show’s dance scenes wouldn’t work without the log drum-peppered beats, which capture the show’s spirit and make it relatable to its Gen Z audience.

Amapiano also anchored Kokota, a drama set in Mamelodi, one of the Pretoria townships where the genre is said to have started out. The show follows the story of a preacher’s son and his journey of becoming a musician. Its use of location, Sepitori (a form of Setswana slang), and fashion celebrate the genre by showing life from an aspiring artist’s point of view.

“Directors are taking advantage of the genre’s international influence by telling stories about the origins of Amapiano,” says Phiona. “South Africa’s favourite music export is also infiltrating TV shows in North America.”

The Jennifer Hudson Show host and EGOT winner Jennifer Hudson got South Africa hyped when the Biko’s Manna band taught her the viral “Tshwala Bam” dance. Who can forget Tyla’s U.S. TV debut performance of “Water”on The Tonight Show Starring Jimmy Fallon? Yet another moment that cemented Amapiano as a global cultural entity.

True to its essence even when far from home

Amapiano influences culture across the Atlantic thanks to events like AmaFest, an Amapiano festival for South African and British performers in the United Kingdom. Afro Nation has now made Portugal a destination for African and European Amapiano fans alike thanks to its Piano People stage. 

These shows are a sign of the impact the South African sound is making on the global music scene. Their ongoing success reflects how much different cultures love the sound, even if they may not understand the lyrics. Small wonder, then, that among the top countries streaming Amapiano in the last 10 years are the United States, United Kingdom, Germany, Netherlands, and France. 

The genre’s earliest artists, like MFR Souls, Kelvin Momo, and Scorpion Kings, along with its latest pioneers, DBN Gogo, Uncle Waffles, and Kamo Mphela, are headliners at these festivals, showing that Amapiano’s global reach won’t stop it from staying true to its roots and essential sounds.

Phiona’s reminder is that it’s thanks to “dedicated artists that the genre’s borrowed blend of diBacardi, Kwaito, and jazz are here to stay. While it influences and adapts to different regions, Amapiano will always call South Africa home.”

Piano to the World: Amapiano’s Evolution From Underground Movement to Global Sensation

June 13, 2024

Today Amapiano is everywhere. Some of the world’s biggest artists, including Beyoncé, have spoken about being Amapiano fans and have put out tracks featuring Amapiano artists. In 2023, Beyoncé even played Amapiano legend Uncle Waffles’ song “Tanzania” during her Renaissance world tour. The genre also got its first Grammy in 2024, with Tyla’s “Water” taking home the “Best African Music Performance” award. 

But that popularity wasn’t always guaranteed. When Amapiano first emerged on the streets of South Africa’s townships a decade ago, many derided it. It was seen as something for people from low-income areas and was given little chance of achieving mainstream popularity. As more and more young people learned about the genre and spread its songs and videos via social media, however, it was set firmly on the path from underground movement to global sensation. 

“Young people have always driven big shifts in the music sector,” says Jodie Tabisher, Spotify’s Artist, Label and Partnerships Manager for South Africa. “But with Amapiano, their impact has been and continues to be especially significant.” 

It’s an assertion borne out by Spotify’s internal data, which shows that 40% of Amapiano streams in 2023 came from people aged 18 to 24. A further 22% came from people aged 25 to 29. It hasn’t hurt that the biggest artists in Amapiano are more or less the same age as their listeners. Even a genre pioneer like Kabza De Small, for example, is only 31 years old. 

For those artists, Amapiano hasn’t just provided a chance to connect with young artists, though. It’s also provided an avenue where they can express themselves fully and authentically. 

“Amapiano was kind of like a breath of fresh air, the light of the sun, something that was close to our heart,” says 27-year-old rapper Focalistic, who plays in the Amapiano space. “Just being from Africa, we’re obsessed with saying things in our own voice right now. It’s how you make an imprint.” 

“Throughout my career, I’ve been fortunate enough to have a front-row seat to Amapiano’s early growth and its later global explosion,” says Phiona Okumu, Spotify’s Head of Music for Sub-Saharan Africa. “One of the things that’s always stood out to me, and which I think has helped the genre achieve its global standing, is just how distinctly South African it sounds, looks, and feels. Just by being authentic, Amapiano music and artists channel the most infectious parts of Mzansi dance culture.” 

While young people have been the biggest drivers of Amapiano over the past decade, its appeal now transcends racial and social boundaries. 

“When you get to America, the biggest thing from South Africa is Nelson Mandela, and that’s because he stood for his country,” says Focalistic. “That’s what Amapiano is: It’s about representing where we come from, and I think it’s a blessing that people relate to it around the world. At the same time, they can hear the emotion. I think emotion sells it more than just words.” 

Young Stunna, the 26-year-old singer best known for his hit singles “Bopha” and “Adiwele,” concurs. 

“With Amapiano we’re united,” he says. “I was inspired by artists like Aymos because they knew how to put a story inside the music.”

That ability to unify people might help explain why, despite its growing international popularity, Amapiano remains most popular in its home market. According to Spotify data, 55% of all Amapiano streams globally came from South Africa in 2023. It also made up 78% of all streams in sub-Saharan Africa. 

Ultimately, it’s unlikely that Amapiano would have achieved its current trajectory if its creators didn’t produce tracks with infectious dance beats. As singer and dancer Kamo Mphela explains, you cannot separate Amapiano from dance. 

“Music doesn’t move without dance,” she says. “That’s personally my perspective that it is its own language, it’s very universal, I don’t think both can exist without each other.” 

Backing this assertion up is the significant role that things like Amapiano dance challenges on social media have played in driving the genre’s popularity. There have been instances of dance challenges’ leading to the discovery of Amapiano songs and artists and assisting in increasing their streaming numbers, such as Tyla’s “Water” or Uncle Waffles’ “Yahyuppiyah.” 

Small wonder, then, that many of today’s most popular Amapiano artists are multitalented. 

“When you look at South African music,” Mphela adds, “there are people who sing the cha-cha, there are the DJs, and there are the wafflers who DJ and dance, but there are quite a few that actually sing and dance, so that’s just me being smart about it and that’s the gateway for me.” 

Phiona concludes that much of Amapiano’s success is built on what came before it. But, she adds, the success of Amapiano artists should also give South Africans confidence in their own ability to succeed.  

“Never would we have thought that piano would go to the places that Kwaito dreamed of all those years ago. It’s happening because we stuck to our guns,” she says. “We know we’re fly, we have the dances, we have the songs, we have the beats, we have everything.”

From Beats to the Streets to the Catwalks: How Amapiano Enabled a Lifestyle

June 13, 2024

Spend enough time browsing music and entertainment news sites, and you’ll find no shortage of articles about Amapiano’s decade-long rise from underground genre to global phenomenon—in addition, articles about international megastars’ collaborating with Amapiano artists or featuring their songs on world tours. 

But Amapiano is far more than just a music genre. It has grown in popularity and become a lifestyle with significant influences on dance and fashion. And just like the music itself grew over 153K% in exports from 2014 to 2023, those influencers are also going global.

Perhaps the best exemplifier of this is dance. As with Kwaito, one of the biggest influences on Amapiano, dance is inseparable from the genre. From its early inception on the streets of South Africa’s townships, the genre has always lent itself to innovation around dance and movement. 

It’s a link that Amapiano artists are keenly aware of, too. 

“Music doesn’t move without dance,” says Kamo Mphela, an Amapiano artist behind the hit song “Dalie.” “That’s personally my perspective—that it is its own language, it’s very universal. I don’t think either can exist without each other.” 

The roots of the dances we associate with date back to the Pantsula tradition, which emerged in South Africa’s townships in the 1950s and 1960s. Unlike its antecedents, however, Amapiano has been able to draw on social media both as a source of inspiration and as a vehicle for taking the music and dances to a global audience. 

Social media dance challenges in particular have been crucial to Amapiano’s worldwide growth. There have been instances of dance challenges leading to the discovery of Amapiano songs and artists and assisting in increasing their streaming numbers, such as Uncle Waffles’ “Yahyuppiyah” or Tyler ICU’s “Mnike.” On Spotify, both tracks are in the top five on the most- streamed Amapiano tracks and the top-exported Amapiano tracks lists per data from the past 10 years. 

These dance challenges continue to grab the attention of high-profile figures around the world, too. In March 2024, for example, Jason Derulo took part in the viral Tshwala Bam dance challenge. That put him in the company of celebrities like Ciara, Jamie Foxx, Kelly Rowland, and Jay Z, who’ve participated in previous challenges. 

That dance heritage has helped inform the fashion associated with Amapiano. While there’s no sense of the homogeneity associated with some genres, there are a few common motifs. Among men, bucket hats, which call back to the Kwaito era, are common sights in Amapiano hotspots, for example. But you’re also likely to see canvas sneakers, Carvela moccasins, and Lacoste golf shirts. Women, meanwhile, wear leggings, joggers, bodycon dresses, or loose-fitting pants. 

Accessories are also important to Amapiano fashion. Chunky gold jewelry, layered necklaces, and statement earrings are all commonly sported accessories among Amapiano artists and fans. 

Amapiano fashion isn’t afraid to borrow from international influences while containing elements that are uniquely South African. You can expect to see designers influenced by the genre incorporating traditional South African prints and silhouettes into their work. 

For the artists, the unabashed South Africanness of every aspect of Amapiano is something worth celebrating. After all, Amapiano’s 2.7 billion-plus streams over the last 10 years can be attributed to its authenticity. 

“That’s what Amapiano is,” says rapper Focalistic. “It’s about representing where we come from, and I think it’s a blessing that people relate to it around the world.” 

Ultimately, however, this blend of music, dance, and fashion speaks most powerfully to Amapiano’s celebration of self-expression. 

“One of the most affirming parts of watching Amapiano explode over the past decade is seeing how people use it for self-expression,” says Phiona Okumu, Spotify Head of Music for sub-Saharan Africa. 

It’s something she believes will help keep the Amapiano ball rolling for a long time to come.

Women in Amapiano

June 13, 2024

From the music studio to the dance challenge, from the lifestyle to the mpahla (slang for fashion), women have played a critical role in shaping and giving direction to the Amapiano movement. Women who are essential to Amapiano’s success do not enjoy the comparative success of their male counterparts even though Spotify recorded an 87% growth in the streams of female Amapiano artists in 2023 compared to 2022. 

Despite the effort, passion, skills, and talent that women have and continue to contribute to Amapiano’s success, Spotify data shows that the top 10 most-streamed Amapiano artists are still men.

There are challenges that women in the global music sector face, which in the context of South Africa’s youngest dance music style have become unique to South African music. To meet these challenges and work toward solutions, it is helpful for them to see positive examples of women whose careers dispel preconceived ideas about women in music. Also, creative solutions can be applied to. Indeed, the voices of women in Amapiano must be supported, celebrated, and amplified. 

There is limited knowledge of female Amapiano producers during Amapiano’s early development. When most Amapiano songs being released were instrumental, women were part of a core audience that attended events, shared the music, and advocated for the style within and outside of Amapiano circles. These contributions might be unknown, but it’s vital that they’re not ignored. 

When Amapiano songs began including vocals, female vocalists played an important role in composing catchy choruses and creating phrases that the growing movement could rally behind. Kamo Mphela and Bontle Smith directed the aspirant ethos of Amapiano to Sandton when they sang, “Ba re shebile, ba re galela, chomi areyeng Sandton,” the chorus on the 2019 Sandton release by Kabza De Small and DJ Maphorisa. Similarly, Sandy Mrd captured the aspirations of many young South Africans when she sang on Dubai and also created a catchphrase that is still popular half a decade later. 

Sha Sha’s “Tender Love” has amassed more than 6.5 million listens on Spotify since its 2019 release, and her vocal presence on subsequent Amapiano releases is emblematic of a shift toward mainstream acceptance. Her singing exerts an identifiable influence on today’s Amapiano singers.

The successful career trajectories of DBN Gogo, Kamo Mphela, and Uncle Waffles in particular  demonstrate how taking the lead on releases has been extemporaneous with that of the Amapiano movement in South Africa and globally.

In 2022, DBN Gogo became a Spotify RADAR artist, enjoying editorial support, marketing, and promotion of her music locally and abroad. Her subsequent being named EQUAL Africa’s March Ambassador and mint’s Artists To Watch for 2024, alongside Uncle Waffles, proved to be a testament to the power of women in Amapiano.  

Today, DBN Gogo has five tracks that have contributed to the export of Amapiano to various territories around the world. “When it all began,” DBN Gogo told Bubblegumclub, “we never expected it to blow up the way it did. Piano was for us, and now it’s literally for the world. I wish I could look into the future and tell you exactly how crazy it’s going to be, but I have to wait and see just like everyone else.” Today, uMa ka Ma (mother’s mother), as she is known to fans, is headlining major events on the global dance music circuit. 

Kamo Mphela not only channeled her popularity as a dancer on social media platforms to global musical success, but she also laid a pipeline for other women to follow. Reflecting on the role that technology has played in her career, Mphela says, “Now technology has made it possible for you to be a boss girl without a male cosign. At first it was always about girls singing about going to Dubai. Now people are singing (scat) on a song.” With 2023’s Dalie, Mphela secured a top 10 all-time Amapiano song on Spotify. She is also in the top 20 of Spotify’s most-streamed Amapiano artists from the past decade.

Uncle Waffles has helped dispel the sexist ideas about women being able to hold their own behind the decks. Since her career-launching viral moment where she’s DJing an event that had partygoers enthusiastically chanting, “Waffles, we want to party,” she has demonstrated talent and grit, and become a sought-after DJ in the U.S., Western Europe, and the U.K. She has also become a successful artist, with two tracks, “Yahyuppiyah” (ft. Pcee, EeQue & Chley) and “Tanzania” (ft. Sino Msolo and Boibizza), that have helped export Amapiano to the world. 

The female pioneers of the Amapiano movement have put paid to bigoted ideas about perseverance, musical skills, and the work ethic women have. And as the women in Amapiano amass accolades and reach new heights, they inspire the younger generation of female artists that now know whatever they dream is possible.

Talk That Talk Winners Koku and Mariah Dish on Their New Podcast, Pitching at CultureCon, and the Hottest African Music Trends

December 15, 2023

In October, Spotify was front and center at CultureCon New York, a weekend-long event that made space for creators of color to talk, hang, and network. Along with hosting the official CultureCon playlist, Spotify’s Creator Equity Fund showcased its commitment to diverse creators by cohosting CultureCon’s inaugural Talk That Talk podcast pitch contest, offering the winner the chance to record their pilot episode at Spotify Studios in Brooklyn, NY, as well as mentorship from a producer for the first episode.

Talk That Talk’s finalists pitched their ideas to a live CultureCon audience, and afterwards our panel of judges selected the winner: Ghanaian creators Koku and Mariah. Their show, In The Mix, looks at the rise of Afrobeats as a global phenomenon while examining the ways it has influenced—and been influenced by—the rest of the African music landscape.

And after months of hard work, we’re thrilled to announce that the first episode of In The Mix is ready for the world to stream.

For the Record sat down with the duo before the launch of In The Mix to talk about the experience, their aspirations for the series, and the trends in African music that excite them most.

What was it like to record the first episode of In The Mix at Spotify Studios?

Mariah: It was very cool. I’ve never really been in the studio before. So having the camera, the mics—I was feeling pretty important. But it was a little nerve-wracking in terms of making sure that I asked the right questions, stuck to our narrative, and made the best use of our opportunity. This is a once-in-a-lifetime type of thing and we’re very grateful.

Koku: I’d also say this was much, much different than recording in my home. I can be in my own room, no one is there, and it’s not as big of a deal if I make a mistake. So there was a bit of pressure at the beginning, but after the first five minutes, it was great and it just felt like a conversation.

Was there a single “a-ha moment” that inspired In The Mix, or was this an idea that you’d been mulling over for a while?

Mariah: This has definitely been years in the making. Koku has another podcast where he talks about soccer with his friends, and that inspired me. I was like, “Oh it would be fun to start a podcast.” We just were never able to find the time—our schedules were crazy back then. So when I saw the pitch competition on the CultureCon page, it felt like the stars were aligning. We decided to submit a pitch at the last minute. And when we were chosen as finalists, it was like, “Okay, this is something that the universe and God is telling us that we have to do.” 

What fresh perspectives do you want to bring to podcasting with your show?

Koku: I don’t think there are too many podcasts dissecting African music or trying to do it in the manner that we are. Most African music history has been word-of-mouth—almost like folktales. And the cool thing about podcasting is that you can record those sorts of conversations and they live online for years to come. It’s time for us to own that narrative, and we hope that African artists will come to In The Mix to have those conversations.

Mariah: We really want In The Mix to be research based and [to] share actual knowledge about our continent and country. But we also want it to be fun. We’re really interested in pushing our culture to the world. We want to get to the point where we’re owning our narrative and owning our culture. 

On that point—owning your culture—what do you believe the world is missing right now?

Mariah: Just the variety coming out of Africa—the different sounds and languages coming from different countries. So I would really like people to sort of go out of their comfort zone and just try something new. You see that with Ghanaian musicians, for example. There’s so much that we’ve influenced but can’t even claim because it got out of our hands. 

I also think there are a lot of African R&B artists who can’t even claim they’re R&B. Like Tems is an R&B artist.

Koku: That’s like our main pet peeve right now. Afrobeats has become this singular genre, and that’s why we want to break down the components of it. To help people understand where the sound comes from.

I want to hear more R&B from African artists. It seems like everyone feels like they have to make dancier songs, but I want to hear some soul. I want to hear people singing. But I’m biased because I love soul and R&B in general.

Are there any lesser-known genres or artists that people should be paying attention to? 

Mariah: In terms of genres, definitely Asakaa, which is like Ghanaian drill. Super, super good. I don’t even know how to describe it, but if you listen to the music, you can just feel the passion; you can feel the streets coming from these rappers. 

Also, Alté, which is African alternative music. I think it’s a really powerful genre—basically an African take on R&B and pop, but a little weirder.

And then some artists people should check out include Alté artists like Odunsi (The Engine) and Maison2500, and Asakaa artists like Jay Bahd and O’Kenneth. We also love AmaaRae and Simi, who have already blown up.

Turning back to your show, are there podcasts that you looked to for inspiration? 

Koku: One podcast I did take note of was Watching The Throne. It’s just two guys that dive into Kanye West’s discography, and what makes it so good is the amount of research they did and the background knowledge they provide.

Mariah: I also listened to Mogul, which gets into the backstories of how hip-hop artists came to be who they are. There’s also a video series by Nigerian media collective Sample Chief that breaks down the history of African music samples and how a lot of the newer songs that are hot right now are inspired by older songs. 

After you listen to the premiere episode of In The Mix, discover more of the hottest artists from one of Koku and Mariah’s favorite African genres on our playlist, Alté Cruise.

20 African Artists Spotlighted by FC Barcelona You Should Know

November 9, 2023

a FC barcelona football game

Through our first-of-its-kind partnership with FC Barcelona, we’ve brought the worlds of music and sport together for fans around the globe to enjoy. Whether it’s special matchday shirts featuring the logos of ROSALÍA, The Rolling Stones, and Drake, or our artist takeovers at Spotify Camp Nou with Sans Soucis and Blas Cantó, we’ve given artists a global stage to showcase their talents like never before. 

In particular, Spotify has featured a number of African artists in these moments throughout our partnership. We’ve played their songs through stadium speakers, showcased their names  pitch-side on LED screens during matches, and added their tracks to playlists on the official FC Barcelona page on Spotify so that fans worldwide can enjoy the exposure this partnership has offered them. With 23 million FC Barcelona fans in the Middle East and Africa, this also marked a great opportunity to bring their local talent to a grand, global stage. And now, artists like ODUMODUBLVCK, Pabi Cooper, Teni, and Ch’cco are front and center in our latest video campaign.

We also took a selection of Egyptian creators, like professional football presenter Ibrahim Fayek, on an exclusive tour to watch FC Barcelona matches. 

Read on to get to know the 20 dynamic artists who have commanded the spotlight alongside FC Barcelona. 

Afroto

Egypt

Since emerging on the scene in 2016, rapper Afroto has won over fans with hit singles like “Brazil” and “7ALA.”

Amir Eid 

Egypt

A singer, composer, guitarist, and actor, Amir Eid is best known as the lead singer of Cairokee, one of Egypt’s top rock bands.

A-Reece

South Africa

Rapper A-Reece’s career took off with the release of his best-known single, “Mgani”; and following the release of his debut album, heaveN caN waiT: thE narroW dooR (vol.1), in 2021, his star has continued to rise.

BNXN

Nigeria

Following the release of “Spiritual,” his 2019 collaboration with Zlatan, Afro-fusion artist Bnxn (fka Buju) has gained attention for his infectious hooks, which have featured on other popular Afropop songs over the years.

Ch’cco

South Africa

After the popular choreography-infused song “Nkao Tempela” became a viral hit in 2019, Ch’cco immediately became a name to remember. Since then, he followed up with hit single “Pele Pele” and was featured on Pabi Cooper’s 2022 hit “Banyana Ke Bafana.”

CKay

Nigeria

With one of the most popular Afrobeats songs of all time, “love nwantiti (ah ah ah),” to his name, CKay is one of the Nigerian artists responsible for turning Afrobeats into a global phenomenon. 

Davido

Nigeria

One of the most popular afrobeats artists in the world, Davido is referred to as “OBO” by his fans. In 2019, his smash hit “Fall” made history when it became one of the longest-charting Nigerian pop songs, and he reached new heights in 2023 with “UNAVAILABLE,” his collaboration with Musa Keys.

Essam Sasa

Egypt

One of the fastest-rising artists to come out of the region recently, Essam Sasa continues to peak on Spotify’s Egypt charts with hits like “Yalla Nedy Lely Baana Bosa.” The pop star is known for his contemporary take on traditional genres, like Shaabi music.

Fireboy DML

Nigeria 

After his hit single “Scatter” was included on EA’s FIFA 21 Soundtrack, Fireboy DML quickly made a name for himself around the world. In 2022, the singer released his third studio album, Playboy, to great fanfare.

Joeboy

Nigeria 

Popular among Gen Zs and millennials due to his timeless love songs, Joeboy caught everyone’s attention with his 2019 hit “Baby” and has since been able to establish himself as one of the finest voices in Afrobeats and R&B.

Lloyiso

South Africa

When Lloyiso released “Nontsikelelo” in 2018, he reminded the music industry why he placed in the top five of the popular singing competition Idols SA as a 16-year-old back in 2015. Today, the 24-year-old is a mainstay on local and international stages, opening for renowned artists such as Tamia. 

Major League Djz

South Africa

Credited with amplifying the global presence of amapiano, Major League Djz are a cornerstone of South Africa’s music scene. Their popular releases, “Ndikuze” and “Shoota Moghel,” continue to dominate the dance floors from Mamelodi to Soweto. 

ODUMODUBLVCK

Nigeria

Starting his music journey in Abuja, rapper ODUMODUBLVCK rose to fame with his breakthrough song “Picanto.” Earlier this year, he took over the airwaves with his hit “Declan Rice,” catching the attention of the professional footballer following its release. 

Olamide

Nigeria 

The success of many street pop and Afrobeats artists can be linked to Olamide, whose record label YBNL is home to like-minded artists Fireboy DML and Asake. His debut single, “Eni Duro,” propelled Olamide to stardom in 2010 and he has since become one of the most revered figures in the Nigerian music scene, most notably releasing the hit single “Infinity” with Omah Lay in 2020.

Pabi Cooper

South Africa

Also known as “Pretoria’s finest,” Pabi Cooper traded her life as an influencer and content creator for one as an artist with the release of her 2021 single “Isiphithiphithi.” One of the most recognizable amapiano artists in South Africa, she has gone on to release notable singles like “Waga Bietjie” and “Banyana Ke Bafana.”

SPINALL

Nigeria 

An internationally recognized Nigerian DJ and producer, SPINALL is known for his signature hats. His collaborations with Wizkid and Mr Eazi have contributed to his growing popularity around the world. 

Teni 

Nigeria 

Fondly referred to as Teni Makanaki by her fans, this exciting talent introduced herself to the world with her hit 2018 single “Fargin.” Since then, she has successfully challenged gender stereotypes and worked to redefine the modern image of a celebrity, allowing fans to focus on her amazing music, which includes singles like “Case” and the Davido collaboration “FOR YOU.”

Tyla

South Africa 

Known as the princess of amapiano, Tyla first gained recognition in 2019 when she dropped her single “Getting Late.” The singer has enjoyed a red-hot 2023, making global waves with her hit single “Water,” which has generated over 120 million streams on Spotify to date, and starring in a RADAR Africa mini-documentary that tracks her ascent to the global spotlight.  

Wizkid

Nigeria 

Referred to by some as the biggest Afrobeats artist in the world, Wizkid is one of the most influential African artists of all time. He first caught the ears of fans worldwide with his 2014 single “Ojuelegba,” which earned a remix from Drake a year later. His Grammy-nominated collaboration with Tems, “Essence,” was dubbed the best song of the summer by Rolling Stone in 2020. Last year, the star released More Love, Less Ego, his fifth studio album. 

Zlatan

Nigeria 

Considered the pioneer of the zanku dance style popularized by his single of the same name,  Zlatan Ibile shook the streets of Nigeria and has become one of the most buzzed-about artists in the country, also appearing on Chinko Ekun’s 2018 hit “Able God.”

Spotify and COLORSxSTUDIOS Spotlight African R&B Talent

October 20, 2023

Maya Amolo, Mbryo, and M^3, and Lukorito in the studio working on a song.

Sub-Saharan Africa is a hotbed of musical talent, especially when it comes to R&B. Our flagship playlist Tantalizers already highlights some of the smoothest acts in the genre, and now, through a partnership with COLORSxSTUDIOS, we are raising the profile of more African R&B artists.

COLORSxSTUDIOS is a unique visual music platform that features artists performing in front of a striking, single-color backdrop with no other people, effects, or visuals. Its goal is to provide a calm, minimalistic stage that gives the artist room to shine. Spotify partnered with the company for a special recording of A COLORS SHOW, the organization’s signature series. 

In addition to the live audio-visual experience, Spotify and COLORS partnered to host a writing camp for burgeoning and established songwriters, artists, and producers. Taking place in Nairobi, Kenya, over three days, the camp brought together 18 participants from all over the African diaspora and placed a special emphasis on creative collaboration. 

Msaki & Karun writing a song

Msaki and Karun

Several of the songwriters, artists, and producers shared what they’ll be walking away with after the experience. 

What’s the secret to a successful collaboration with others while working on a new piece?

Bien, artist and songwriter: The secret is vulnerability, as well as an open heart and mind.

Karun, artist and songwriter: I think it’s getting to a place where you understand where someone’s head is at and where they want to take the session. Then you meet halfway. That’s something I learned from this session from this writing camp: Everybody has their own method and their own way of expressing, and when you can find a way to kind of make that mesh without getting in each other’s way, it can be really beautiful.

Xenia Manasseh, artist and songwriter: Risk and trust, combined. And openness. That’s it. They’ll give you everything that you need. They’ll come with what they have. I’ll come with what I have. And if we’re both willing to be open with each other, there’s no way that we’re not going to create magic. 

Manana, artist, songwriter, and producer: Humility. To collaborate well I believe you have to leave all ego and arrogance at the door, put the music first, and make that the priority of the session.

Tay Iwar, artist, songwriter, and producer: Openness, positive criticism, patience, and focus . . . every idea has different viability and validity; some are just more effective.

NNAVY, artist and songwriter: A successful songwriting session is one where you feel inspired; where there’s a kind of bubble surrounding the studio and all the people in it. Words are flowing, people are inspired, and every idea makes sense in that moment. Or sometimes a successful songwriting session is when you’ve had an unfinished or blurry idea, then suddenly your lyrics become clearer and you can finally see the direction the track is taking. 

Xenia Manasseh working on a song

Xenia Manasseh

What’s one big takeaway from your songwriting camp experience?

Lisa Oduor-Noah, artist and songwriter: You should always be an avid learner. I think the form a song takes and its melodic qualities are different for so many different artists, especially when you account for different cultural backgrounds. So always be an active learner.

Zowie Kengocha, artist and songwriter: I’ve learned to take risks and freestyle as much as I can, and not be afraid to make mistakes.

Maya Amolo, artist and songwriter: One big takeaway from this experience is that collaboration is everything. 

Ukweli, producer: I had a great experience at the writing camp. Getting to work and talk with African artists has reinvigorated my desire to have more collaborations with artists from all over Africa and the diaspora. 

Lukorito, producer: There’s value in maintaining your unique identity while collaborating. My most rewarding sessions happened when I trusted my instincts and believed in myself, even when collaborating with more established artists. It reinforced that authenticity is crucial for meaningful collaboration. You have to show up!

MAUIMØON/La Soülchyld, artist, songwriter, and producer: It helped reignite my passion for songwriting. It was great being able to see the other incredible writers and how they think about melodies, lyric choices, and vocal performances. As a producer, it helped me want to focus more on my arrangements and sound selection. It was a great experience that gave me a lot of incredible ideas.

M3,, producer: The importance of collaboration and having fun while creating art. Being in different rooms with so many great musicians and just bouncing ideas off each other was fantastic. It was really encouraging seeing how we perfected someone’s vocal idea or baseline from just an idea in their head. The important thing is that everyone was on the same vibe and enjoyed the moment.

Titose, artist and songwriter: Apart from Kenya being extremely beautiful, and the Spotify and COLORS team being so helpful, it was meeting different artists and songwriters from different parts of Africa. Writing with Berhana, Tay Iwar, Maui, and Xenia sparked my creativity and inspired me to try different songwriting processes. They all had different styles and approaches to writing, which inspired me to try new things in my own music and gave me the desire to pick up a new instrument! It was an eye-opening, wholesome experience that solidified the power we all know music to have—bringing people together!

Mbryo, songwriter: There’s always beauty and magic in collaborating with people of diverse cultures who have different ideas on how good music should sound and feel.

MAUIMØON recording a song

MAUIMØON

Hosting this camp and spotlighting these creators is one way Spotify’s hoping to empower the next generation of emerging artists while celebrating African R&B talent. Listen to more of these artists on our Tantalizers playlist.

 

 

Rema’s “Calm Down” Becomes the First Track Led by an African Artist to Join Spotify’s Billions Club

September 11, 2023

Rema, one of Nigeria’s fastest-rising stars, is joining the Billions Club on Spotify. “Calm Down,” his hit single featuring Selena Gomez, has been exciting listeners on the dance floor and beyond since it was released in August 2022—and has been streamed repeatedly.

This achievement marks the first time an African artist–led track has racked up a billion streams on Spotify. And Rema is a worthy champion, as one of the top 10 most-streamed Afrobeats artists on the platform.

There’s power in a musical collaboration, especially when it’s from genre-spanning global artists. Collaborations can help fans discover new music, and can help artists attract new fans. “Calm Down” is one example of cross-cultural musical fusion that lets each artist shine in an unforgettable remix. The catchy blend of Afrobeat rhythms and melodies, coupled with Rema’s and Selena’s vocals, results in a bona fide billion-strong hit.

“It’s a blessing. It’s not just a big win for me, my team, and family; it’s also a big one for the culture,” shared Rema. “I feel really happy, and I’m really proud of the fans as well for going back to the song and putting people onto the song. Shout-out to the DJs and everyone who made this possible.”

Spotify data shows that the highest number of streams of “Calm Down” are coming from the U.S., India, Mexico, Brazil, and the U.K.—proof that the song truly transcends borders. It’s also been added to more than a million Spotify playlists.

“This milestone is absolutely remarkable for Rema, marking a pivotal moment for this talented artist and the entire Afrobeats community. It’s clear that the genre is making a significant impact and gaining substantial influence on the global music stage, and we are excited to continue supporting it at Spotify,” said Victor Okpala, Spotify’s Artist and Label Partnerships Manager for West Africa.

Joining the Billions Club cements Rema’s trailblazer status. It also highlights a big moment for Afrobeats music, and proves how the genre continues to evolve and grow.

Check out other tracks that have made it into the Billions Club, below.

The Giants of Africa Festival Inspires African Youth to ‘Dream Big’ Through Basketball, Culture, and Music

August 16, 2023

As one of the fastest-growing music markets in the world, Africa is home to dynamic genres like Afrobeats and amapiano that have taken pop music by storm. And while artists like Burna Boy, Rema, CKay, Wizkid, Tems, and Davido have risen as icons on their home continent, they’ve also succeeded on the global stage. 

The future is bright for African music and its stars, but there’s also a new generation of talent outside of music who are ready to show the world what they can do. That’s why we’re teaming up with the Giants of Africa Festival in Kigali, Rwanda, to showcase a shared vision for the continent’s future through music and basketball.   

To tip off the event, which runs August 13-19 and will see over 250 youth from 16 African countries in attendance, we worked with Giants of Africa (GOA) to create a special video, Music In Motion. Featuring players from the Nigeria Youth National Team who took time to share the ways music and basketball are linked in their lives. 

Co-founded by NBA executive Masai Ujiri, GOA uses basketball as an avenue to inspire African youth to dream big while also emphasizing education, empowerment, and leadership. Since 2003, GOA has positively impacted over 40,000 African youth across 17 countries by providing access to basketball courts and skills camps.

Along with the Music In Motion video, Spotify will also be presenting the festival’s closing concert. The headliner will be the magnetic Davido, and he’ll be joined by Tiwa Savage, the Nigerian singer-songwriter and actress known as the Queen of Afrobeats; Rwanda’s own Bruce Melodie, a gifted singer-songwriter known for his soulful melodies; and Tyla, a rising star recently selected as a featured artist for our RADAR program. Their performances promise to create an electrifying atmosphere and leave a lasting impression on festival attendees.

Together with GOA, we’re committed to supporting a new generation of talent by uniting the best of African youth, basketball, music, and culture.

Be sure to hit play on our Giants of Africa playlist, which features Afro hits from the 16 countries represented at the continent’s premier basketball festival. 

Spotify Invests in the Future of Ghana’s Rising Creators

March 28, 2023

Sandy, Phiona, and Joe at Vibrate Space

Ghanaian creators are having a moment on Spotify. For every stream in Ghana of a local artist, there are six more streams in markets around the world. Examples include singer, rapper, and Spotify RADAR artist Black Sherif, whose hip-hop and reggae blends are finding new listeners in Nigeria and the U.K.; and Atlanta-based singer-songwriter-engineeer-producer and EQUAL artist Amaarae, who has recently seen her music soar to new heights in Chile, India, and Mexico. 

EQUAL artists Moliy and Gyakie and Fresh Finds artist Kofee Bean, among countless others, are seeing listeners in markets like the U.S., Germany, the Netherlands, Canada, and France. And there’s even more on the podcast side, as Sincerely Accra, a Ghanaian podcast, was named one of 13 African podcasts to receive a share of Spotify’s $100,000 African podcast investment last year.

This week, we increased our ongoing commitment to artists and creators across Africa through a donation to Vibrate Space from our Creator Equity Fund. Vibrate Space, operated by Surf Ghana in Accra, is a community recording studio and music business program that offers education and mentorship for young Ghanaian artists so they can create, connect, and collaborate. Over the past six months, Vibrate has registered more than 200 studio bookings and hosted many more creators for events and classes.  

We first partnered with Vibrate in September 2022 with a donation that assisted in the launch of the studio. Now, to help Vibrate achieve its robust plans to further support the creative economy in Ghana, we’re making an additional donation from the fund.

At an event at Surf Ghana, Spotify’s Global Head of Artist and Audience Partnerships, Joe Hadley, shared the news. “Spotify is proud to continue our efforts to support and uplift creatives with our Creator Equity Fund. I’m excited to share that from that fund, we’re announcing a donation to the Vibrate Space in Accra, Ghana,” he said to a room full of African artists as well as the Vibrate team. “They have been incredible partners to us, continually pouring into the local community and creating a space where artists can come together to grow creatively. We’re looking forward to hearing the music, stories, and success that will come out of Vibrate.”