More than two decades on, we look back on a golden era of our history, flipping through the sonic archives to pick out the best African albums of the 2000s.
By Abioye Damilare Samson
The 2000s ushered in a transformative era for Africa, marked by significant political, social, and musical shifts. In Nigeria, the excitement was palpable as the nation embraced its newfound democracy. South Africa, having emerged from the long shadows of apartheid, was stepping into an era of freedom and renewal. In Ghana, the winds of economic and political reform blew strongly, while Uganda experienced a creative renaissance.
Amidst this atmospheric change, African music truly ignited. And when I say ignited, I mean a fire that illuminated the continent with a blaze of new sounds. Across Africa, artists broke down traditional soundscapes and crafted fresh, innovative musical templates.
2Baba (formerly 2Face Idibia) released an album, Face 2 Face, that became a blueprint for Afro-pop, ultimately paving the way for Afrobeats to dominate the global stage. Meanwhile music powerhouse, Angélique Kidjo, was doing what she does best–embodying Pan-Africanism through her eclectic style , her albums celebrated Africa’s rich musical heritage and brought it to the world stage.
Lucky Dube poured his heart and soul into every reggae track, offering profound commentary on life, politics, and everything in between. Ghana wasn’t left behind either. The irresistible, ultra-catchy sound of Hiplife—a fusion of Highlife and Hip-Hop—became the new kid on the block, making everyone nod their heads to a fresh beat.
More than two decades on, we look back on a golden era of our history, flipping through the sonic archives to pick out the best African albums of the 2000s. These are the music projects—presented in no particular order—that defined the decade and still make us dance and reminisce today.
Badou – Youssou N’Dour (2006, Senegal)
There is something undeniably captivating about Youssou N’Dour’s balmy tenor—a calm, assured presence that pulls you in. The legend’s 2006 album, Badou, stands as a compelling testament to his genius and his commitment to social commentary.
Across its seven tracks, the album is infused with the passion and depth that have defined his career, making Badou an immensely enjoyable listen.
Face 2 Face – 2Baba (2004, Nigeria)
Before 2Baba became a household name and an immutable part of African pop music, he was a member of Plantashun Boiz—Nigeria’s golden boy band of the late ’90s and early 2000s—alongside Faze and Blackface. When the group disbanded, 2Baba was poised to carve his own path as a solo artiste.
In 2004, under the Kennis Music label, he released Face 2 Face, a debut album that marked a seismic moment in Nigerian Pop music. The album featured timeless anthems like “Nfana Ibaga”, “U No Holy Pass”, and the evergreen love ballad, “African Queen”.
With sharp songwriting, a smooth fusion of Hip-Hop, R&B, Afrobeats, and Reggae, and top-tier production by OJB Jezreel, Face 2 Face cemented 2Baba as a living legend, destined to shape the musical landscape for generations to come.
Black Ivory Soul – Angélique Kidjo (2002, Republic of Benin)
They don’t call her Mama Africa for nothing. Angélique Kidjo’s Black Ivory Soul, released in early 2002, further cemented her status as one of the finest African artists of her time.
In this album, Kidjo flexes her legendary status by blending the deep, spiritual rhythms of her Beninese roots with the lush textures of jazz and funk. Featuring just one guest artist—Dave Matthews, the American musician and lead vocalist of the Dave Matthews Band—Kidjo marries the essence of traditional African sounds with global influences, delivering an album that creates an instantly memorable experience for the listener.
Welcome to Mali – Amadou & Mariam (2008, Mali)
Amadou and Mariam have always been masters at blending the traditional with the modern. On their 2008 album, Welcome to Mali, they enlisted a star-studded lineup that included K’naan, Keziah Jones, -M-, Toumani Diabaté, Tiken Jah Fakoly, and Juan Rozoff, with Damon Albarn adding his production magic.
The album is a creative masterpiece, deeply rooted in their Malian heritage while simultaneously embracing a global sound, making it one of the standout African records of the 2000s.
Game Over – Psquare (2007, Nigeria)
When the Okoye twins, Peter and Paul, released Game Over, it truly was game over for everyone else at that moment. Dropped in 2007, the album fused Afrobeats with R&B, delivering thrilling and infectious hits like “Roll It”, “Do Me”, and “Danger” that dominated the airwaves and parties, capturing the music zeitgeist.
Bold and brilliant, Game Over made a significant impact on the music scene.
Soul Taker – Lucky Dube (2006, South Africa)
While many artistes of the early 2000s were riding the wave of feel-good anthems, Lucky Dube swam against the tide with conscious reggae, a genre more popular in Jamaica. On Soul Taker, released in 2006, he tapped into a profound well of wisdom to deliver tracks that resonate with purpose and insight.
With striking vocals and sharp lyricism, Dube dissects the world around him—from humanity’s failed lessons on “Teach the World” to the power of genuine love on “Love Me (The Way I Am).” It’s a solid body of work that encapsulates the purest distillation of Lucky Dube’s essence.
Homeland – Miriam Makeba (2000, South Africa)
One of Africa’s most distinctive and powerful voices, Miriam Makeba, returns to her roots with Homeland, a profound testament to her musical legacy and deep connection to South Africa in celebration of the end of Apartheid.
This album seamlessly blends traditional sounds with contemporary influences, capturing Makeba’s timeless ability to convey both cultural pride and social consciousness. Her evocative singing reflects the pain of the past while paying homage to the country she calls home.
Gongo Aso – 9ice (2008, Nigeria)
There’s no denying it: Gongo Aso is 9ice’s magnum opus. He captured the zeitgeist of Nigeria with his distinctive rap-sing flow, a blend of Fuji, Afrobeat, and streetwise wisdom. Tracks like “Street Credibility” and the titular “Gongo Aso” became anthems that transcended class and tribe.
This was music for the parties, the streets, and those ears that craved authenticity.
Tsivo – Oliver Mtukudzi (2008, Zimbabwe)
Oliver Mtukudzi’s Tsivo is a shining example of African folk music at its zenith. The album captures the wisdom and groove that define Mtukudzi’s artistry, delivering a profound exploration of love and life through the lens of Zimbabwean music.
Rich with his signature Tuku sound—a masterful fusion of traditional Zimbabwean rhythms and Afro-Jazz—the album features intricate guitar strumming, dynamic drums, and Mtukudzi’s striking vocals. It embodies everything one desires in an album: melody, cohesiveness, and deeply resonant songwriting.
Gimme Some Volume – Brenda Fassie (2004, South Africa)
Brenda Fassie is an exceptional artiste, and Gimme Some Volume is a testament to her brilliance. From start to finish, the album radiates raw energy, unrestrained ecstasy, and a wave of emotion that shines through every track.
Fassie exemplifies why she was a monumental force in South African music.
Asa – Asa (2007, Nigeria)
Asa’s self-titled album is a cultural touchstone in the canon of African music from the 2000s, marking her arrival as a powerful new voice on the global music scene. With tracks like “Jailer” and “Fire on the Mountain”, she fused Soul, Folk, and Afrobeat into a sound that is both fresh and deeply resonant.
Her smoky, soulful delivery, paired with poignant lyrics about social justice and self-discovery, sets the album apart as distinctly African yet globally relevant.
Mushin 2 Mo’Hits – Wande Coal (2009, Nigeria)
If there’s an artiste who grabbed the baton from 2Baba and sprinted through the Nigerian Pop music landscape, redefining the soundscape with one of the most game-changing albums of the 2000s, it’s Wande Coal. The new generation of artists in the Nigerian music scene look up to him for inspiration, and it’s easy to see why—Mushin 2 Mo’Hits is the quintessential record that elevated Wande Coal to iconic status.
Wande took Afrobeats, infused it with R&B swagger, and layered it with that highlife groove perfect for dance routines. Tracks like “Bumper to Bumper” and “Go Low” showcase his ability to effortlessly blend vibes, creating timeless bangers that still ignite every party.
82 – Just A Band (2009, Kenya)
There’s no debate: Just A Band ranks among Africa’s finest musical acts. They’ve carved out a unique sound that is unmistakably Kenyan, elevating their records to the forefront of contemporary African music.
When it comes to their discography, nothing shines brighter than 82. This genre-defying masterpiece fuses Hip-Hop lyricism in both English and Swahili with R&B-style vocals and electronic beats, creating an album that stands as a high watermark in their groundbreaking catalogue.
Cinderella – Ali Kiba (2006, Tanzania)
On his debut album, Cinderella, Ali Kiba conjures a soundscape of exceptional finesse. Rooted in R&B yet elevated by his distinctive touch, the album radiates with both contemplation and emotion.
This work is a profound exploration of the soulful dimensions of African music, helmed by a composer who not only honours the continent’s musical legacy but also pushes its boundaries into an almost ethereal expanse.
Mr Lecturer – Eedris Abdulkareem (2002, Nigeria)
Nigerian rapper, Eedris Abdulkareem, was arguably the voice of early 2000s rap in Nigeria. His 2002 album, Mr Lecturer, is a bold socio-political work wrapped in an Afrobeat sound.
Standout tracks like “Jaga Jaga” combine razor-sharp lyrics with irresistible beats, addressing societal issues head-on. Meanwhile, the titular track, “Mr Lecturer”, takes a stand against the pervasive problem of ‘Sex For Grades’. This conscious album perfectly captures the frustrations and aspirations of a generation grappling with systemic corruption.
Talk About It – M.I Abaga (2008, Nigeria)
M.I Abaga’s Talk About It arrived with significant anticipation, and it delivered even more than expected, marking the emergence of a new force in Nigerian Hip-Hop. This album would later become a blueprint for the genre’s modern identity.
From tracks like “Anoti” to “Safe” featuring Djinee, where he cleverly flipped lyrics from the hottest songs of the time, the project strikes a delicate balance between self-assured bravado and deep introspection, all wrapped in slick production that appeals to both street and mainstream audiences. M.I’s ability to marry witty wordplay with accessible themes set him apart, turning what could have been just another debut into a landmark success in African Rap.
The Entertainer – D’banj (2008, Nigeria)
To call yourself “The Entertainer” sets the expectation to deliver not just music, but a full experience—and D’Banj lived up to every bit of it with his 2008 album. He embodies this ethos in his fashion, dance, and the way he carries himself.
Released at a time when Afro-Pop was still carving out its identity, The Entertainer propelled D’banj into the stratosphere of African music superstardom. Backed by Don Jazzy’s genre-defining production, D’banj embraced the larger-than-life persona of an entertainer—bold, playful, and unapologetically extravagant.
Yvonne and Friends – Yvonne Chaka Chaka – (2000, South Africa)
With the Yvonne and Friends album, Yvonne Chaka Chaka proves why she is a titan of African Pop. This album encapsulates the essence of her sound, radiating infectious joy and hope.
Opening with the buoyant and rhythmically engaging “Makoti,” Yvonne swiftly whisks listeners into her world of vibrant melodies and good-time vibes. As the album smoothly transitions through its various moods, by the time one reaches the reflective “Save the Children,” it becomes clear that she can just as easily deliver songs with profound emotional depth.
True Story – Timaya (2007, Nigeria)
Timaya’s True Story was raw, unfiltered Naija reality. This wasn’t polished, feel-good Pop—it was the voice of the streets. “Dem Mama” became an anthem for the oppressed, while Timaya’s gritty delivery gave life to the struggles of the Niger Delta. On “Ogologomma”, he offers hope for those who navigate life’s struggles while he pays homage to his city on the ninth track, “Bayelsa”.
Dancehall flows met Afrobeat rhythms in a well executed and cohesive album that made you feel the hunger in his belly and the fire in his heart.
Ruggedy Baba – Ruggedman (2007, Nigeria)
When you kick off your album with an opening track like Ruggedman’s “Naija Hip-Hop”, where he confidently declares, “One, you have to be sure you have the talent in you. Two, only then can you develop what’s in you. Three, your stagecraft should make your fans scream,” you demonstrate that you’ve memorised the industry rule book and are ready to school your peers with boss-level confidence.
If the intro track reveals anything, Ruggedman has never been one to play by the rules. On Ruggedy Baba, he didn’t mince words—he targeted industry gatekeepers and fake rappers alike, delivering bars as sharp as his critiques.
The titular track, “Ruggedy Baba” featuring 9ice, became the hit that got everyone talking. However, beneath the surface lies an album that exposes the cracks in the Nigerian music industry. Ruggedman was the original rebel, and with Ruggedy Baba, he proved that hip-hop could be raw, political, and still rock the club.
Honourable Mentions
- Abuguda – Teddy Afro (2001, Ethiopia)
- Rutenderi – Riderman (2008, Rwanda)
- Mapinduzi Halisi – Professor Jay (2003, Tanzania)
- E’ Pluribus – Modenine (2006, Nigeria)
- Chapter One – Sinach (2008, Nigeria)
- Ahomka Womu – VIP (2005, Ghana)
- Sawasawa – Eric Wainaina (2001, Kenya)
- Kipepeo – Jose Chameleone (2005, Uganda)
- Hitsville – Paul Play Dairo (2007, Nigeria)
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