In uncovering what 2025 might hold for the African music landscape, we explored the trends of the years past, searching for patterns that could illuminate the new year’s music.
By Afrocritik’s Music Board
African music soared far beyond even the most optimistic projections and predictions in 2024, marking another definitive chapter in its continued ascent to global prominence. It was a year brimming with new milestones, boundary-pushing collaborations, and culture-defining albums that expanded the sonic and cultural reach of the continent.
The historic rise of young female Afro-Pop artistes like Tyla, Tems, and Ayra Starr on the global market was one of the year’s most defining narratives. These women boldly staked their claim in spaces once monopolised by their male peers.
At the same time, the omnipresence of Amapiano began to recede, its once-unchallenged dominance gave way to new explorations. Yet, even as the genre’s influence waned, it still delivered undeniable highs, like “Tshwala Bam” by South African producers TitoM and Yuppe, which went on to become one of the continent’s biggest anthems of the year.
Still, 2024 belonged to artistes who turned back toward the cultural roots that define African music’s core. From Sofiya Nzau to Asake and Rema, there was a renewed emphasis on grounding modern artistry in deeply traditional textures, a deliberate effort to connect with heritage while pushing it into new frontiers.
In uncovering what 2025 might hold for the African music landscape, we explored the trends of the years past, searching for patterns that could illuminate the new year’s music. And to better understand the possibilities, we spoke to those who sit at the heart of the African music ecosystem—music executives, stakeholders, journalists, and critics from across the continent.
Their insights offer a deeper understanding of the major trends and predictions that will define the year ahead, laying the groundwork for what could be African music’s most transformative chapter yet.
Cross Continental Collaborations On The Rise
2024 is a year that saw plenty of collaborations by artistes from different parts of the continent. We had songs such as “No One” by Rwanda’s Kenny Soul and Nigeria’s Dj Neptune, “Controlla Remix” by Nigeria’s Joeboy and Malawi’s Onesimus, rule the airwaves in different countries.
This trend of cross–continental collaborations is one that leading East African A&R, Philip Koth, predicts will continue in 2025 as well.
“With the rise of DIY music distributors and TikTok, it’s easier than ever to discover new music and keep track of what’s popping in different parts of Africa. It’s a different timeline now, as artistes no longer need big budgets to blow up or to have their music travel the world — the algorithm is doing the hard work. So musical talents across the board can discover each other more easily and work together.”
Afamefuna Onyebadi, A New York-based East African producer and sound engineer also predicts the same. He states, “I am looking at artistes like Sarafina The Great from Ivory Coast, KindlyNxsh from South Africa, Len & Fimiguerrero from the UK (both with West African roots) Deela from Nigeria and tg.blk, Sofiya Nzau & Idd Aziz from Kenya all representing a new wave of powerful African artistes, staking their claim over international airwaves all while infusing their “Africanness” into their music. As a producer with fairly close proximity to these artistes, I expect 2025 will be full of Afro-Fusion from these artistes, as they work together towards a common goal, which is giving the world a part of Africa through good music ”.
More Sampling in African Music
Innovation, sometimes, often requires a nod to the past, and one thing African artistes in recent times have masterfully demonstrated is by weaving nostalgic samples into contemporary hits.
Sampling has become a powerful tool for bridging generations, paying homage to the legends while creating fresh, relatable sounds to capture the zeitgeist.
Recent examples in 2024 abound; Tems’ Grammy-nominated “Love Me Jeje” reimagined Seyi Sodimu’s 1997 classic of the same name, Davido’s “Funds” samples the evergreen vocals of Brenda Fassie’s 1999 hit, “Vul’indela”, and Key the Prince’s “Left Right” brought a modern twist to Yinka Ayefele’s timeless groove. Asake’s “Active”, Shallipopi’s “ASAP”, ID Cabasa’s “Olufunmi Reimagined”, Darkoo’s “Focus On Me” are further proof of how sampling can breathe new life into beloved classics, creating a sense of familiarity while pushing boundaries.
While there will always be the question of whether these songs did proper justice to their original versions, this trend is far from fading.
As Akachi Igboko, A&R and Publishing at Mavin Records, aptly puts it: “I believe more artistes who have the access and resources would incorporate nostalgic samples in their records, ranging from familiar foreign sounds of the early 2000s to indigenous music across different cultures in Africa”.
As we move into 2025, we can expect to hear more artistes tapping into the sonic trove of African classics, incorporating the old into the new to create pop-driven hits for the current generation.
Emphasis on Community Building
We’re living in an era where the concept of the long-standing music superstar is slowly being eroded. The barrier to entry into the music industry has never been lower—thanks in large part to the accessibility of music production tools and platforms that allow anyone with talent and ambition to step into the spotlight.
In 2025, the survival and growth of any artiste will hinge on something deeper than viral moments or fleeting popularity. According to Igboko, artistes will need to cultivate a sense of community around their music—something more intimate and more lasting than the faceless consumer base that social media tends to create.
“To stay relevant in 2025, artistes will need to place emphasis on building communities and fostering a closer relationship with their fans, who will go on to convert others to join the cause”, he says.
Increased Demand for DJs in the Live Scene
The rise of DJs in the live scene is set to take centre stage in 2025. Even though this shift began in 2020 when COVID-19 altered the very fabric of live events and touring and made DJ-driven events, private parties, and streaming platforms become the go-to alternatives when the world pressed pause, that wave shows no signs of slowing down.
If anything, 2024 saw an even sharper focus on DJ-centric parties, with social media flooded by content that further entrenched their place in the nightlife and event spaces. Looking ahead, 2025 will see an even more pronounced emphasis on DJs, especially within the events industry.
Their ability to draw crowds and curate seamless experiences is becoming a key asset for promoters, making them an increasingly attractive option for events—often at a fraction of the logistical and financial burden that booking big-name artistes would bring.
As Igboko points out, “There’s a growing trend where DJs are becoming the main attractions, often more logistically efficient and rewarding for event organisers than big-name artistes”.
This shift could very well reshape how we view artiste bookings in the years to come, giving DJs more of the spotlight while making the process more streamlined for promoters looking to tap into the pulse of modern audiences.
Improved Music Production and Marketing Through AI Technology
Artificial Intelligence (AI) has become a transformative force across industries, and the music world is no exception. In recent years, AI has revolutionised how music is created, distributed, and even marketed.
It is particularly bold to assert that its influence on the African music scene is set to exponentially grow this year.
From AI-powered chord and melody generators to vocal enhancement tools, the creative process is becoming more accessible and efficient, enabling artistes to experiment with new sounds and streamline production.
Platforms like LANDR and Amper Music are already empowering musicians worldwide, and African artistes are beginning to harness these tools to elevate their craft.
Beyond production, AI is reshaping the business side of music. Tools for generating Electronic Press Kits (EPKs), optimising ad targeting, and refining playlist placements are helping artistes and labels reach their audiences more effectively. For instance, AI-driven analytics can identify emerging trends and listener preferences, allowing African artistes to tailor their marketing strategies for maximum impact.
The integration of AI into African music is not just a trend—it will be a game-changer. We can expect AI to play a substantial role in helping artistes break new frontiers creatively and commercially.
Arewa’s Sonic Influence is Poised for 2025
As Amapiano begins to loosen its grip on Nigerian soundscape, the search for Afrobeats’ next frontier grows more urgent. Northern Nigeria’s rich Arewa sound appears ready to step into the spotlight, offering a fresh wave of sonic possibilities.
Nasarawa-born Afro-Fusion artiste, FirstKlaz, made remarkable strides in 2024, weaving Northern-inspired melodies into his music and setting the tone for what could be a larger movement.
Reflecting on this shift, Igboko notes, “I believe more artistes who have the access and resources will incorporate nostalgic samples in their records, ranging from familiar foreign sounds of the early 2000s to indigenous music across different cultures in Africa—especially more Arewa-inspired music”.
2025 might just be the year the Arewa sound fully claims its place in the evolving Afrobeats landscape.
Rise of Women and New Talent in Afrobeats
The African music scene has long been a male-dominated space, but the tides are shifting. In 2024, women not only held their ground—they dominated. Female artistes are stepping into the spotlight with confidence, creativity, and undeniable talent, proving that Afrobeats and its sister genres are no longer a boys’ club.
Tyla, for instance, built on the global success of her 2023 hit, “Water” by releasing her debut album and sweeping every major award she was nominated for last year. Her meteoric rise has paved the way for a new generation of female artistes ready to take centre stage.
Nigerian counterparts, Tems and Ayra Starr also held their own weight, releasing their debut and sophomore albums, respectively, which were critically acclaimed.
2024 also saw the emergence of fresh, dynamic voices like Qing Madi, whose soulful melodies and lyrical depth have captivated audiences, and Kold AF, whose bold, unapologetic style has made her a standout in the industry. Amaeya, with her unique blend of Afro-Fusion, has also been turning heads, proving that the future of African music is as diverse as it is vibrant. On the East African front, acts like Barbara Wangui and tg.blk have carved a niche for themselves in the Alté scene.
As we look into the year, one can expect more female sensations to emerge, bringing fresh perspectives to African music. These women will not be here to fill gaps; they will be creating their own lanes, and telling stories that resonate globally.
Rise of Rhumba– inflected Afrobeats
The latest African artiste to steadily climb the ranks is Sarafina The Great, whose releases since her debut only a few weeks ago have been sparking a buzz, as she is setting the stage for her unique sound to define the next wave of African music.
There have been concerns of the next big sound in Afro-Pop being elusive– Simply having no tea leaves to read. But Sarafina The Great, hailing from Ivory Coast, has released Afrobeats songs that offer a new rendition of the genre blending the infectious hard hitting rhythms of traditional African drums with the sensual groove of Rhumba, creating a captivating fusion that might redefine African music.
Koth tells Afrocritik how the rise of Sarafina’s sound might give hints about the soundscapes that will be at the forefront of the next African musical movement.
He says: “The West and South of Africa have been great at talent discovery and creating pop stars over time, which has been good for business. But right now, with big record labels heavily investing, trying to scale and cut through the noise, we are poised to see new names rise from East, Francophone, and Lusophone Africa. Sarafina The Great, is prime example of what’s to come, as she is the cusp of having their sound takeover afropop this year”
Improvement in Concerts and Event Quality
A sentiment that has been shared across the African music landscape is its lack of infrastructure when it comes to hosting live concerts. While events like The Experience and Flytime Fest can be said to be the exception, the norm particularly in West and East Africa has been subpar experience for concert-goers.
As African music continues to captivate global audiences, the demand for world-class live experiences is growing. This year, we can expect a significant shift in the quality of concerts and events across the continent, driven by better curation, improved infrastructure, and a heightened focus on the overall attendee experience. Vallerie Muthoni, Kenyan-American singer and rapper, captures this sentiment perfectly:
“Africa has the very real capability to be a crucial hub of the entertainment industry, but due to lack of proper structures, lack of government support and protocol, we end up being overlooked and miss out on opportunities to host things. So, my hope is that the event organizers and promoters get their shit together and level up both curation-wise—not just of the artistes on the lineup—but the EXPERIENCE of the event”.
The Era of Experimentation
Amapiano has already stamped its authority on the global sound, but as we move into 2025, the genre’s departure from mainstream consciousness seems inevitable.
According to celebrated music, literature, and culture critic, Dami Ajayi, “The Amapiano-inflected sound has become stale, so everyone is looking for the next big sound in 2025. The next big sound is elusive. There are simply no tea leaves to read. Would it be another import like Amapiano, or would it be from crate-digging classics? I bet on the latter.”
Adeayo Adebiyi, Pulse Nigeria’s Music Editor, believes that the next phase will see artistes blend the familiar with the unknown, exploring new sonic territories to see what resonates.
“The soundscape is currently in an evolutionary stage between Amapiano fusion and what’s next. This will lead to more experimentation in 2025, as artistes try to figure out what works”, he tells Afrocritik.
What this means, more than anything, is that the year will see a push and pull between the tried and tested—Amapiano’s unmistakable rhythm—and a forward-thinking approach, where genres like Northern indigenous music, uptempo Afrobeats, and 3-step Afro-House are being woven into the fabric of mainstream sound.
This duality will shape 2025, where artistes will have one foot grounded in the familiar and the other in the bold, as they navigate through the currents of innovation in search of the next big thing.
Labels Will Look Beyond Nigeria for Global Hits
For years, Nigeria has been the undisputed epicentre of African music’s global expansion, producing cross-continental hits that have dominated charts and playlists worldwide. From CKay’s 2019 hit, “Love Nwantiti”, Wizkid’s 2020 track, “Essence”, to Burna Boy’s 2022 chart-topper, “Last Last”, Oxlade’s 2022 worldwide sensation, “Ku Lo Sa”, and Rema’s record-breaking number, “Calm Down (Remix)” with Selena Gomez, Nigerian artistes have consistently paved the way for Afro-Pop’s global rise.
However, 2023 marked a turning point when South African superstar, Tyla, broke the mold with her chart-topping hit, “Water”, which became the biggest song by an African artiste that year. She built on this success in 2024, solidifying her place as a global superstar.
Tyla’s breakthrough has opened the door for other non-Nigerian African artistes to shine on the world stage. South Africa’s TitoM and Yuppe further proved this with their viral hit, “Tshwala Bam”, which became Africa’s unofficial global anthem of 2024.
This shift signals a growing recognition that Africa’s musical talent extends far beyond Nigeria, and international labels are taking notice.
Adebiyi aptly observes: “I think more African artistes will follow Tyla’s path by harnessing Afrobeats’ global surge. This is something that has existed with a star like Diamond Platnumz, but there’s still that disparity that kind of demarcates him from the ecosystem. I think following Tyla’s success, international labels will be looking beyond Nigeria for the next global hit from Africa”.
We can expect to see more global hits from countries like South Africa, Kenya, Ghana, Tanzania, and beyond, as African music is poised to become even more inclusive, dynamic, and globally influential.
Surge in Afro-Rave Influenced Music Fueled by Rema’s HEIS Album
Rema’s sophomore album, HEIS, has been nothing short of an amazing project, cementing his place as one of the most innovative and experimental artistes in Africa today.
The album’s bold foray into Afro-Rave—a fusion of high-energy rave beats with the infectious rhythms of Afrobeat—has opened new doors in the genre, setting the stage for what promises to be a wave of experimentation and fresh sounds.
“Rema, being a leader, will be the spark to a domino effect, bringing a lot of Afro-Rave sounds out of West Africa”, Koth says.
As Afro-Rave gains momentum in 2025, expect an influx of artistes tapping into this high-octane, sweat-it-out energy music.
Cross–Genre Collaborations on the Rise
To further foster innovation in the African music industry, and ensure Artistes push their creative boundaries, collaborations between acts engaged in different genres is optimal.
The African musical landscape can ultimately be enriched by artistes working hand in hand to bring together diverse fanbases.
This is a vision Muthoni shares for 2025. She tells Afrocritik, “In 2025, I foresee more cross-genre collaborations. Gengetone artistes collaborating with Hip-Hop and R&B artistes featuring Shrap artistes; Pop artistes with Altè/Folk and so on. Bringing our audiences together will do so much for bridging the gap and imbalance that there is in mainstream music in Africa” .
Contractual Obligations Will Lead To More Music Releases
In an industry now saturated with home-based record labels, such as Chocolate City in Nigeria, Kaka Empire in Kenya, and WCB Wasafi records in Tanzania, opportunities for the most talented artistes to secure professional working conditions is much easier than before, as increased competition among labels now makes it easier for emerging talent to be recognized and signed.
International music companies are also increasingly turning to Africa as the new frontier, recognising its vibrant and diverse musical talent, growing consumer market, and untapped potential for global influence. Universal Music Group has been seen to be making inroads in East Africa, signing emerging talents such as Njerae.
Igboko tells Afrocritik how the presence of these labels might impact African music in 2025. “There will be more music releases as more artistes continue the spamming approach to see what will stick. Contractual obligations would also lead to more music releases”.
New Talents From East Africa Will Rise, Making A Global Impact
The most streamed Kenyan artistes happen to be three ladies: Sofia Nzau, Barbara Wangui and tg.blk. Sofia Nzau is the architect behind “Mwaki”, the Kikuyu House hit song that went number one globally, while the other two are East African Altè music acts whose songs represent a new era of hybrid sound in East Africa.

Koth predicts Sofia’s rise, alongside the others, will make listeners pay more attention to what is happening in the region.
“Sofia Nzau will make music executives focus on what’s brewing in cities like Nairobi, Kampala, and Dar Es Salaam. The young indie acts in East Africa as well have broken the cycle, and their rampant collaborative projects have really grown the Alternative music landscape, which I’m excited to see further in 2025. The Nairobi Alté scene as well is not only serving the local market but is also palatable to listeners in Europe and the US”.
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
Emmanuel ‘Waziri’ Okoro is a content writer and journalist with an insatiable knack for music and pop culture. When he’s not writing, you will find him arguing why Arsenal FC is the best football club in the multiverse. Connect with him on X, Instagram, and Threads: @BughiLorde
Frank Njugi is a Kenyan Writer, Culture journalist and Critic who has written on the East African and African culture scene for platforms such as Debunk Media, Republic Journal, Sinema Focus, Culture Africa, Drummr Africa, The Elephant, Wakilisha Africa, The Moveee, Africa in Dialogue, Afrocritik and others. He tweets as @franknjugi.
Listed twice by “Black Pride Magazine” as one of the top 5 Music Journalists in Nigeria, Emmanuel Daraloye has over 600 album reviews in his archive.
Cover photo credit: Max-o-matic for Billboard