Across different eras, Tiwa Savage has remained at the forefront of the Afro-Pop’s soundscape, shaping and reshaping the zeitgeist in ways that few can claim.
By Abioye Damilare Samson
It would be disingenuous to deny that the Afrobeats industry has long been skewed against female artistes. For the longest time, women in the scene have had to put in twice the effort of their male counterparts just to be afforded the same accolades.
Yet, against all odds, Tiwa Savage has carved a legacy that places her toe to toe with the biggest names in the genre since emerging with her 2010 breakout hit “Kele Kele”—which later appeared as the outro track on her 2013 debut album Once Upon a Time.
Starting her music journey with an R&B-inflected sound, Tiwa Savage quickly displayed a vocal dexterity that set her apart, proving beyond reasonable doubt that she couldn’t be boxed into a single sonic lane.
Across different eras, she has remained at the forefront of Afro-Pop’s soundscape, shaping and reshaping the zeitgeist in ways that few can claim. From soul-stirring ballads like “Ife Wa Gbona” featuring Leo Wonda to club-ready bangers like “Eminado” with Don Jazzy—both released in 2012 and 2013, respectively—her discography is rich with records that have defined moments and soundtracked memories.
Here, we take a look at ten of Tiwa Savage’s biggest songs—the club anthems, the game-changers, and the timeless cuts that have shaped her remarkable 15-year run since her emergence.
“My Darlin’” (2015)
There’s a certain reliability that comes with a Tiwa Savage and Don Jazzy collaboration, a near-unshakable assurance that whatever they cook up will be a melodic tune. “My Darlin’” is no different.
Co-produced by Baby Fresh, the track is built on warm percussion and a melody that wraps around Savage’s voice.
Built on a buoyant Afro-Pop rhythm, the song finds Savage in full-on hopeless romantic mode with her honeyed vocals gliding over the production. Don Jazzy’s unmistakable ad-libs and harmonies—tucked neatly into the song’s fabric—add an extra layer of warmth that elevates the song’s feel-good essence.
“Somebody’s Son” (feat. Brandy) (2021)
“Somebody’s Son” is that kind of song you can’t ignore—a subtle heartbreak anthem and undeniably one of the most memorable cuts from Tiwa Savage’s Water & Garri EP released in 2021.
She taps into something universal here—a yearning for love, the kind of longing that hits differently when you’ve been single for what feels like too long.
She linked up with the American singer, Brandy, for an international collaboration that was nothing short of flawless as the duo’s voices glide effortlessly over the mellow production and sing about how somebody’s son will find them one day.
“All Over” (2017)
By the time “All Over” dropped in 2017, Tiwa Savage had already solidified her place in the Afro-Pop hierarchy, but this was one of those records that reminded everyone why she was in a league of her own.
The dancehall-tinged production by Baby Fresh provides the perfect sonic template for Tiwa Savage to glide over, her voice drenched in yearning as she sings about a love so consuming that makes her sing lines like “And if you tell me say make I bend low / bend low, bend low / I no go waste time but to do like so bend low, bend low”.
The call-and-response hook is the track’s secret weapon—sticky, effortless, the kind that lingers long after the song ends.
“Eminado” (feat. Don Jazzy) (2013)
There are songs that make you move, and then there are songs that make you feel like the music is moving through you—“Eminado” sits comfortably in the latter category.
From the jump, Don Jazzy’s deep, bass-laced vocals set the stage, a precursor to the magnetic pull of Tiwa Savage’s striking entrance where she flows over highlife-inflected groove and lays bare her affections in a way that feels sincere.
“Ma Lo” (feat. Wizkid & Spellz) (2017)
There’s an unspoken magic that happens when Savage and Wizkid collaborate on a track—a chemistry so effortless it feels like they’re making music in their own private universe. “Ma Lo” sits at the pinnacle of their collaborations.
It’s a record that distills their synergy into three minutes of pure, unfiltered groove. With Spellz behind the boards, the production leans into the Pon Pon sound that defined Afrobeats in 2017—soft yet propulsive.
Many years later, “Ma Lo” remains a time capsule of an era and a reminder that some music collaborations are simply built to last.
“Loaded” (feat. Asake) (2022)
At the peak of Asake’s 2022 takeover, Savage teamed up with him towards the tail end of the year to create “Loaded”, which became the undeniable “Detty December” anthem. The track taps into the same irresistible formula that made Asake a household name: choral vocals, heavy percussion, and dramatic strings.
What makes “Loaded” special is the way Savage effortlessly outshines even Asake’s magnetic energy. However, beyond the catchy hooks and irresistible rhythm, the track sees. She addresses the sex tape scandal from 2021; she boldly declares, “Na who never fuck? Hands in the air”. It’s a controversial line that puts all the naysayers in their place.
“Kele Kele Love” (2010)
When it comes to singing about love in a way that feels effortlessly magnetic, Tiwa Savage stands at the very top of the Afro-Pop game. “Kele Kele” introduced us to a Savage who, over an African-inspired bassline, laid her emotions bare. The rhythm, heavy with kicks and a snare, forms the perfect backdrop to her vocal delivery.
She sings of a lover who wants to keep her hidden away, all while flirting with others. It is the track that ushered Savage into the mainstream and arguably one of her biggest songs.
“Lova Lova” (feat. Duncan Mighty) (2018)
Duncan Mighty’s 2018 resurgence was a cultural moment—one powered by his embrace of the Pon Pon sound that had Nigerian music in a chokehold at the time. With his signature blend of English and Ikwerre, he became the go-to collaborator for A-list artistes eager to tap into his magic. Among the many link-ups that defined his second coming, none was as striking as “Lova Lova”, his mid-tempo duet with Tiwa Savage.
Produced by Spellz, the track drips with romance as the duo trade heartfelt declarations over a breezy instrumental. Adding to its allure is a certain background vocal—eerily reminiscent of Wizkid—that deepens the song’s hypnotic pull. “Lova Lova” is an undeniable anthem of 2018 and remains one of Savage’s most memorable offerings.
“Wanted” (2013)
Despite the snarky online backlash and the banishment of the visuals for “Wanted” — thanks to the nude bodysuit and erotically charged dance moves — the song still stands as one of Tiwa Savage’s most memorable.
She blends a pulsing Reggae atmosphere with her unique flow and borrows the line “Out in the streets/they call it murder” from Damian Marley’s 2005’s Reggae hit, “Welcome to Jamrock”, which brings her edge to the song. It’s a daring track, and Savage made sure it left an imprint, no matter the bad comments against it.
“49-99” (2019)
Fela Anikulapo Kuti’s influence on African music is undeniable, and his sound has been a well of inspiration for many artistes, whether through samples or interpolations.
Savage taps into this rich legacy on “49-99”, borrowing the title from a memorable line in Fela’s 1978 classic, Shuffering and Shmilling: “Every day my people dey inside bus / Forty-nine sitting, ninety-nine standing.” It’s a track steeped in consciousness, firmly grounded in the Afrobeat template, with a punchy kick that drives home its message.
Abioye Damilare is a music journalist and culture writer focused on the African entertainment Industry. Reading new publications and listening to music are two of his favourite pastimes when he is not writing. Connect with him on Twitter and IG: @Dreyschronicle