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Beats by Dr. Dre Tour (Black) review: Beats by Dr. Dre Tour (Black)

Beats by dr. dre tour (black).

Fashion-forward designs have recently been making quite a bit of headway in the headphone space. It doesn't take much effort to find a pair that matches your MP3 player or can be coordinated by outfit , although manufacturers with true eyes for design take things a step further. Take Monster Cable's Beats by Dr. Dre Headphones , a super stylish set of cans announced at CES 2008 . The company is now adding to the fashionable line with the Tour In-Ear Headphones, an ultraportable set that sports the signature red and black coloring. This $150 pair once again proves that hip hop-branded headphones won't necessarily offer an overwhelming low-end response, and also leads us to believe Dr. Dre may have the deepest ear canals known to man.

The Bottom Line

The Monster Beats by Dr. Dre Tour In-Ear Headphones have perhaps the longest earpieces we've ever seen. The 'buds measure a full inch from end to end, and half of that length is made up of the arms that hold the eartips. Half an inch isn't that long for most gadgets, but the scale is considerably altered when you have to stick the gadget into your ear. As a result, fit can be an issue. Although Monster includes five sets of silicone eartips (three sizes of standard and two sizes of triple flange), we found the Tour earphones to be fairly uncomfortable and could never really get a secure fit. Plus, the ends of the 'buds tend to stick out pretty far from the head.

Of course, fit is highly personal. One could make that argument for style, too, but there's no denying that the Tour earphones will add quite a bit of flair to your listening setup. The entire design is unique, from the flattened, disc-shaped earbuds--decked out in the signature lowercase "b" logo--to the red ribbon of a cable. The cord, which terminates in a gold-plated straight plug, is like few we've seen; flat and thick, it appears to be more durable than most earbud cables--definitely a plus. Monster also includes a hard-sided zippered case for storing and protecting your investment when it's not in use.

The Beats by Dr. Dre Tour In-Ear Headphones may not present an overwhelming low-end, but bass is not lacking and it's nice and tight. As with their full-size siblings, these 'phones offer an impressively crisp high end with good detail. If anything, music tends to sound a bit cold for our liking, with the 'phones slightly lacking in the rich and buttery mids that add the desired warmth. However, we were generally impressed with the clear and balanced audio response during testing, though a few songs could sound harsh. Hip hop, electronic, and pop are genres that shine, and even classical sounds good. If you can get a good fit and want the most stylish earbuds you can get your hands on, the Tour In-Ear Headphones are a worthwhile option.

Score Breakdown

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Beats by dr. dre tour in-ear headphones.

• Create date May 5, 2010
• Tags beats-by-dr-dre-tour-in-ear-headphones
• Universal Fit

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Latest reviews

New Head-Fier

• 0.50 star(s)
• Aug 21, 2014

Bought these when being on vacation the past weeks, since "argl" I missed to pack my in-ears and thought, ok, for 2 weeks on the beach, let's pick the first ones I came across. What I learned now, and since the first impression always counts, keep your hands back from packages with "Beats" on it. I expected less, since that brand is well know by poeple with equipment causing ear-cancer, but I still expected a bit more but in-ear which aren't able to represent a clean sound of what the playback device sends them. Ever heard of what "soundstage" stands for? This was the first ever in-ears which had no stage at all. Looks as if beats tried to produce a headphone set which lets stereo music sound as if being a mono recording.   I simpyl dropped them in the dustbin at the airport, since it wasn't worth thinking about carrying them back home. Each cent spent was for next to nothing.   Beats .... if you don't like crispy clear music.

DigitalGrounder

• 1.00 star(s)
• Dec 27, 2013

So I got a pair of these before i knew anything about audio, and since now i do, i rarely ever listen to these, these have bad sound quality, the comfort is okay, but i really like the design i think its very unique. Also these do isolate very well i could every rarely hear anything when I'm listening to music with these on. Overall these have bad value, not worth $149.99

WARNING: INCOMPLETE TRADES

• 3.00 star(s)
• Apr 5, 2013

For me personally these are okay   Price -- I think these should be cheaper than they are priced. On the Apple website they are marked at $150 still but I think they are cheaper in the store. Anyways, they would be okay if they were $70 just because of the experience I had with them.   Pros: They do come with a good carrying case, and a decent amount of tips to choose among. They are good looking ear buds for sure. They look nice, color scheme is good. I love the red, white, and black. However that's about it.   Cons: The main problem for me was comfort and sound. Comfort: For me they stuck out of my ear too far and were constantly falling out. Sounds: They sounded slightly better than the current apple Earpods, which cost less than 1/3 than the beats. Cost: Overpriced   Value: Honestly you are paying to have something that looks pretty. If you want to pay to have something that works and has the beats logo go for it. If you want something that sounds better, for less there are many options.

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TESTED: Beats By Dre Tour In-Ear Headphones

• by Chris Martens
• Jun 01, 2009

Beats by Dr. Dre is a sub-brand of Monster Cable whose stated goal is to make true, studio-grade sound (as approved by Dr. Dre, of course, as well as his long-term collaborator/producer Jimmy Iovine) available to consumers at accessible prices. But apart from sonic qualities, Beats by Dre products are designed to look cool, too, sporting a distinctive red-and-gloss-black design motif that’s very attractive. Toward the end of 2008, and following closely on the heels of the launch of the now-iconic Beats By Dre Studio noise-cancelling headphones ( reviewed in Playback Issue 14 ), the firm announced its Tour “high-resolution in-ear headphones.” The Tours are said to convey a sound similar to the full-size Beats Studio over-the-ear headphones, but for less than half the price and in a convenient “earbud” format.

Consider this headphones if: you favor a sound that is clear, well-detailed, and dynamically alive, but that has subtle (and not terribly excessive) touches of bass and upper midrange/lower treble enhancement that add a quality of “excitement” to many kinds of music. Also consider the Tours if you like “earbuds” that simply look cool and that incorporate clever tangle-free signal wires that really work.

Look elsewhere if:  you are passionate (and finicky) about sonic neutrality and want in-ear headphones that offer the most accurate, uncolored, evenly-balanced voicing possible (if those are your priorities, you might find Monster’s new Turbine in-ear headphones a better choice).

Ratings (relative to comparably-priced in-ear headphones):

• Tonal balance: 8
• Dynamics: 9
• Comfort/Fit: 8
• Sensitivity: 8

Sonic Character

I think Dr. Dre’s Tour in-ear ’phones not only equal but actually surpass the sound quality of the famous full-size Beats Studio headphones. Here’s why. The Tours retain the best qualities of the Studios—clarity, detail, and lively dynamics—while mitigating their most significant flaw—audibly colored voicing that overemphasizes bass and upper midrange /lower treble frequencies to a distracting degree. Granted, the Tours add a touch of bass and upper midrange/lower treble emphasis of their own, but they do so in a much s ubtler, more subdued way than the Studios. The result: better-balanced sound all around. Whereas the Studios definite ly exaggerate certain frequencies, the Tours merely underscore or “dramatize” them a bit, in the process delivering a more accurate sound that works better with a broader spectrum of musical styles. Note, too, that the To urs’ minor colorations can become a plus in environments (such as jetliners) where there are high levels of background noise to cut throug h.

Musical Example

A richly layered recording such as Lucinda Williams’s “Wrap My Head Around That” from West [Lost Highway] nicely shows off the Tours strengths. The recording opens with a delicate, reverb-drenched motif being plucked on a guitar as we hear Lucinda Williams’s half of a fragmentary phone conversation, her voice saying, “Yeah, … Um-hmm, … Uhh-huh, …” The Tours give such a vibrant, up-c lose perspective that we have the uncanny sense of listening in on a private, intimate conversation. But what is the conversation about? The song soon provides an answ er.

As a dark and richly syncopated bass and drum rhythm propels the song forward, we hear Williams sing (in a voice that is unmistakably leveling not just a complaint, but an indictment), “You told me you loved me/said you want to be with me… You looked right into my eyes/said I’m not like the other guys…” The ability to capture small but crucial details such as these inflections in the singer’s voice, or the driving, springy feel of the rhythm section is precisely what the Tours are all about. Yes, they give the acoustic bass a little more punch than is accurate, and yes, they make high percussive transients and vocalist’s sibilant “S’s” sound a bit “hotter” than they should, but these ‘phones are so darned expressive and engaging that you may find (as I do) that their minor excesses are not only forgivable, but just plain charming.

Can you get even more clarity and expressiveness than the Tours offer? Yes, if you’re willing to invest about twice the price. But for many listeners, I suspect the Tours will represent a comfortable and satisfying point of diminishing returns.

Comfort Factor/Accessories

The Tours are quite light and their soft silicone eartips feel great and seal well.  I particularly like the way the Tours’ angled earbud housings are designed, providing generous amounts of offset between the eartips and driver enclosures, and leaving plenty of room for signal cable run-out (with the Tours, you’ll rarely have a sense of the signal cables dragging across the outer surfaces of your ears).

The design of the Tours’ tangle-free signal wires (patent pending) is a clever innovation: the wires are molded into thin, flat “ribbons” that roll-up neatly in the case, rather than curling up into a “rat’s nest” ball of wires. Good thinking, Dr. Dre.

BOTTOM LINE :

The Tours are just what the doctor ordered (pardon the pun) for those who want highly expressive in-ear headphones that offer almost-ne utral voicing plus a touch of dramatic flair courtesy of subtle amounts of bass and upper midrange/lower treble emphasis. The Tours ‘phones also sound better than most when used in noisy environments. Though a matter of personal taste, I found the Tours’ gloss black and red styling motif very appealing. The ‘phone’s cool, tangle-free red signal cables not only look slick but actually work (try them and you’ll wish everyone made cables this way).

SPECS & PRICING

Beats by Dre Tour in-ear headphones Accessories: three pairs of round rubber eartips (S, M, L), two sets of triple-flange “airlock” eartips (S, L) and carrying case Weight: Not specified Sensitivity: Not specified Price: $150

Monster, LLC. (415) 840-2000 www.beatsbydre.com www.monstercable.com  

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Monster Beats by Dr. Dre Tour Review

• on June 5, 2013
• Earphones , Reviews

Details: In-ear model from Monster’s Beats by Dr. Dre line MSRP:  $179.95 Current Price:  $150  from amazon.com ; $170 for ControlTalk version w/mic Specs: Driver:  Dynamic  | Imp: N/A | Sens: N/A | Freq: N/A | Cable:  4’ I-plug Nozzle Size:  4.5mm  | Preferred tips:  Sony Hybrids Wear Style:  Over-the-ear or  straight down

Accessories  (3.5/5)  – Single-flange (3 sizes) and triple-flange (2 sizes) silicone tips and hard clamshell carrying case Build Quality  (3.5/5)  – The housing construction is a combination of different materials, with the driver chamber made of aluminum and attached to a plastic nozzle and stem. The flat cable seems reasonably sturdy and remains tangle-free but unfortunately has no strain relief to protect it from the edges of the stems, y-split, or 3.5mm plug casing Isolation  (3/5)  – The long, angled nozzles allow for deep insertion of the Tours. Isolation is very reasonable with correct fitment Microphonics  (4/5)  – The flat cable carries less noise than the majority of conventional cords but the Tours are difficult to wear over-the-ear to eliminate microphonics completely Comfort  (3.5/5)  – The tours are ergonomically-designed but rather large and limited in versatility by the long and wide stems. In addition, they sound very poor with a shallow fit so deep insertion is pretty much required with the earphones.

Sound  (6.1/10)  – Being familiar with Monster’s Turbine line as well as the Jamz & Lil’ Jamz, I was hoping that the Beats Tour would stick closer to the original Turbines in signature, especially since the two earphones share a price point. Unfortunately, the Tours, with their highly colored, aggressive signature, are far more similar to the Lil’ Jamz than any of the other Monster earphones. Also like the Lil Jamz, the Beats are less forgiving of a poor seal or shallow insertion than the Turbines or regular Jamz and do not sound their best with the narrow-channel silicone tips that Monster includes – aftermarket silicones such as Sony Hybrids are better. With good tips and a proper fit, the beats are still brighter and more colored-sounding than the Turbines but at the very least show improvement over the signature of the Lil’ Jamz.

The low end of the Beats is extremely strong, putting out more mid-bass than the Turbine but with a touch less impact than the Eterna. The Turbine is slightly more controlled and textured as well but the difference isn’t great. Sub-bass extension is there but the sheer amount of mid-bass often overshadows the low rumble that earphones such as the Hippo VB portray accurately. Detail is closer to other mainstream bass-heavy earphones, such as the Thinksound TS02, but lags behind the Eterna and VB. Ironically, though the Beats are marketed as ‘High Resolution’ earphones, resolution is one of the many things they could use more of.

There’s a small amount of bass bleed distinguishable in the lower midrange but on the whole the mids are crisp and clear. Clarity is slightly better than that of the Turbine and Thinksound TS02 – two earphones that are also significantly warmer than the Beats. Detail is lacking slightly in comparison to the Turbine but the Beats are fairly aggressive and push the detail they do have on the listener, appearing more revealing than they actually are. There is unevenness in the upper midrange and lower treble, resulting in a lot of treble sparkle but also quite a bit of harshness and occasional bouts of sibilance. The Turbine actually has slightly more emphasis on the upper midrange but maintains its composure better and sounds far smoother than the Beats on the whole. Expectedly, the Beats can be fatiguing at times, especially for those with a low treble tolerance. Upper midrange peaks aside, the Beats have surprisingly competent treble – not particularly detailed or textured but with good presence across the range and surprising clarity.

Presentation, however, is where the Beats fall quite flat for me. Despite the plentiful treble sparkle, there’s a slight lack of air, making the Beats sound stuffier than the Thinksound TS02 or Phiaton PS 20. Soundstage width is average but the Turbine still sounds a bit less closed-in. Of course next to an earphone with a truly out-of-the-head soundstage, such as the Eterna or PS 20, the Beats sound quite narrow, but that’s expected. Soundstage depth is average for an earphone in the Beats’ price bracket as well but the separation leaves a lot to desired – layering is quite poor and the presentation of the Beats is somewhat similar to the ‘wall of sound’ that I ran into recently with the Skullcandy FMJ, albeit not as forward and far less offensive on the whole. As a result, the Beats are not ideal for busier, denser tracks – classical, big-band jazz, and heavy metal are clearly not genres Monster had in mind when tuning the earphones. In addition, the heavy coloration of the earphones throws off the timbre – the Thinksound TS02, Turbine, and Eterna all make instruments sound more natural. Lastly, it should be noted that the Beats Tour are more sensitive than either the Jamz or the Turbines and exhibit hiss with some of my more poorly-matched sources, which came as a bit of a surprise as even the top-of-the-range Turbine Coppers do a good job of suppressing hiss.

Value  (5.5/10)  – The Beats Tour by Dr. Dre were one of the first in-ears released under the Monster brand and remain a practical set for day-to-day use two years later. With a proper fit, which can be more difficult to achieve than with the Turbine and Jamz models, the Beats are fairly comfortable, have decent isolation, and carry little cable noise. Sonically, the Beats Tour are ‘shouty’ earphones, lacking the dynamic range and separation needed for the proper portrayal of musical nuances, but have lots of clarity, bass impact, and treble sparkle. There are genres that they perform relatively well with but even then the signature and presentation of the Beats fatigue me fairly quickly. Those looking for a colored, bass-heavy sound may be better off with cheaper models such as the Thinksound TS02 or Fischer Audio Eterna, or the Turbines for the same money. Additionally, if a deal on the Beats Tour seems too good to be true, it probably is – eBay and most Chinese deal sites are completely flooded with fakes, though I cannot be sure that the real thing sounds significantly better than the counterfeits.

Pros: User-friendly cable, 3-year warranty, impressive clarity, heavy but not offensively bloated bass Cons: Heavily colored sound; can be harsh & fatiguing; poor separation & layering

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The Beats Tour Pro TWS earbuds revive the dormant audio brand, bringing studio-grade music to the forefront

It’s no secret that Apple bought Beats by Dre just to throttle it. The company wanted to rapidly scale its own music streaming service and launch its own wireless earphones, so it made sense to gut the iconic hardware and software company, effectively absorbing its tech and talent to create Apple Music and the AirPods. However, Beats by Dre didn’t just die out… it became an Apple afterthought. While AirPods got their own limelight spot at Apple’s keynotes, new Beats products came fewer and farther apart, and they were announced not with fanfare, but with press releases. The Beats Tour Pro, however, is one designer’s attempt at revitalizing the brand. Designed as a pair of high-end TWS earbuds to rival the AirPods Pro, the Beats Tour Pro come with a slicker design, snug-fitting silicone tips, active noise canceling, a transparency mode, and rapid connectivity with Apple’s desktop and mobile operating systems.

Designer: Junwoo Kim

Like most Beats products, the Tour Pro boasts a design that stands out as something eye-catchingly different. Unlike Apple products that have somewhat become homogenous in the way they look, the Beats Tour Pro play well with proportions. Sure, they stick to the basics with the massive Beats logo on the outer surface of the earbuds, but there’s also a hollow stem right below, making it easier to grip the earphones without accidentally hitting the capacitive touch surface. The stem also creates a more snug fit by tucking itself into the ear’s natural shape, allowing you to go about your day without worrying about them falling out.

The Beats Tour Pro earbuds sit in a rather nifty pebble-shaped case reminiscent of the Studio Buds. Unlike the Studio Buds and the AirPods, however, the Tour Pro’s case opens in a clamshell fashion, revealing the entire earbud within (somewhat like Samsung’s own Galaxy Buds). They do, however, sport USB-C charging just like the Studio Buds.

Designer Junwoo Kim also envisioned the Tour Pro earbuds to have ANC and a transparency mode, similar to the AirPods Pro and the Studio Buds. The conceptual pair of headphones are also designed to pair seamlessly and instantly with Mac and iOS devices, fitting well within Apple’s walled garden ecosystem.

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Young Russians take odysseys across Europe to see Taylor Swift perform

MOSCOW - Artem, a 22-year-old IT student in Moscow, has no regrets about shelling out more than $3,000 to see his favourite singer perform.

Around the world, fans of Taylor Swift - "Swifties" - are used to paying eye-popping prices to attend her concerts. But in Russia, there are other challenges in the quest to catch the superstar on tour.

Many Western performers have shunned Russia since 2022, when Russia sent its army into Ukraine, and outward travel to the West is fraught with complications.

But Russian Swifties, undeterred, embarked this summer on daunting odysseys - requiring visa appointments and clever flight combinations - to catch Swift on her sold-out Eras tour.

Elizaveta, a 20-year-old medical student, travelled with Artem to see Swift perform in Gelsenkirchen, Germany, in July.

"When you realise your dream has come true, well of course, (you feel) happiness, joy, and great thankfulness that everything worked out," she said.

Elizaveta and Artem have become close to other Swifties in Moscow who set up a fan group three years ago on the Russian social platform VKontakte.

Members say dozens attend the events they organise, from singalongs to bracelet-weaving workshops.

"We try to create some kind of cosy community, a place for people to meet," said Diana, 20, studying international relations.

But for those with the time and money, nothing beats seeing Swift live.

Artem and Elizaveta were determined to do that this summer. Elizaveta flew via a third country to Greece, for which she had secured a visa, then to Germany. Artem applied - six months ahead - for an Italian visa through an agency.

"I combined it with a general European trip; if I was there just purely for the concert ... it would have been cheaper," he says. "It turned out to be about 300,000 roubles ($3,200)."

The students have learned to adapt to the shifts in geopolitics.

Elizaveta's Apple Music account is registered in Turkey, while Artem and others use "workarounds" to listen to music on Spotify, which stopped streaming in Russia in 2022, after the full-scale war began. Apple paused product sales the same year.

And another fan, Dmitry, says Swifties around the world are just a click away.

"We are not really isolated from the rest of the world. (We) sit and watch TikTok, there are videos from foreigners and various discussions ...

"In principle, we have enough of everything. We have a very rich life."($1 = 92.7000 roubles) REUTERS

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Rising Afrobeats Star Oxlade Is Ready To Go Global On 'Oxlade From Africa'

The Nigerian singer discusses his new project, his global ambitions, and the unity of Afrobeats as an identity.

If there’s one thing Nigerian singer Oxlade believes in, it’s the power of Afrobeats as a world-conquering musical movement.       

“Afrobeat is beyond the music. Afrobeats is who we are,” he says. “Afrobeats is the trends, the fashion, what we eat. Afrobeats is an identity.” 

The Lagos native, born Ikuforiji Olaitan Abdulrahman, has good reason to believe in Afrobeats, considering he’s one of its fastest-rising stars. After a youth marked by tragedy and struggle, in particular the death of his mother at 3 years old, he left university to pursue a musical career in the late 2010s. 

Oxlade quickly rose to prominence when his strong falsetto vocals earned him cosigns from Drake and opening performance slots for Davido and WizKid . His EP Oxygene , inspired by his own struggles with asthma, gained acclaim with the smash hit “ Away ” in 2020. An even bigger success followed with “Ku Lo Sa” in 2022; his performance of the song on A Colors Show , the influential YouTube series where artists give one-take live renditions of their music, currently has over 100 million views. 

Now, Oxlade is readying his biggest act yet. He dropped his debut album Oxlade From Africa on September 20 ahead of a North American tour starting October 2 in Winnipeg. The album’s vision of what Afrobeats can be is quite inclusive, with the artist bringing aboard UK rapper Dave , French-speaking Congolese star Fally Ipupa, and Jamaican dancehall icon Popcaan as collaborators. Ugandan music legend turned political dissident Bobi Wine provides a spirited introduction on the album’s opening track.

GRAMMY.com caught up with Oxlade via Zoom ahead of the album’s release to talk about the creative process behind the record, his global ambitions, and how Afrobeats serves as a cultural force on the world stage.

How long have you been making music and when did you decide to start doing it professionally?

I started singing even before I started to talk. So it's more like a muscle memory thing for me. I was born into a musical family. I lost my mom when I was three, and I moved to my grandma's. My grandma happened to be a deaconess in a church, and she enrolled me in the choir. Ever since then, I've been singing. It has always been a part of me, even though I never knew I was gonna use it to impact lives. Even though I never knew I was gonna be Oxlade, I started singing even before I found myself. 

Judging by the Barcelona FC jacket you’re wearing, you're clearly a football fan. Do you support any specific teams or players?

I'm a Barca fan. My favorite football player of all time is Neymar. He made me love football again. His game is artistic, not the normal athletic, direct style. 

Before I knew the origin of your artist name, I originally thought that you had named yourself after (former Liverpool player) Alexander Oxlade Chamberlain.

Yeah, I get that a lot. Actually, I got it from my grandpa. He lost his best friend the same day I was born, and so he gave me the name in his honor.

** The album is called Oxlade from Africa . Why is it from Africa, not from Nigeria or from Lagos? **

As much of a Nigerian that I am, I'm equally an African. And Africa is the mother continent of every African country and race, including the likes of Jamaica and most of the Black people you see anywhere on Earth. So I felt like self awareness and identity is one of the most underrated strengths that any African has. I'm on the path of finding myself, but also I'm on the quest of telling people more about myself and where I come from through my music. 

Something I encounter a lot when speaking with Afrobeats artists is the idea of Pan Africanism, this desire to sort of unite the whole continent through sound. And it seems like you want to unite sort of everyone of any Black experience.

I feel like we need more unity in Africa. God really blessed our race. And I feel the only missing piece is more love. If we let go of xenophobia, tribalism and personal greed, I feel like Africa could be the most blessed, flourishing continent to ever exist. 

Is that why you wanted to work with someone like Bobi Wine, who has become a political leader in his country?

Yeah. I mean, it was just a way to remind the African youth that even though we are artists, we're vessels, and we are also destined to use our platforms and our voices to wake people up. The future is now, the future is tomorrow, the future has to start from now, and having Bobi Wine on there was just like a trigger to remind people of what the struggle of being an African youth feels like, and against all odds, how much we have to triumph. Because when our parents, or when the people that came before us are gone, we're going to be the ones that have to handle the fate of Africa. 

Was there a particular moment earlier on in your career where you realized you wanted to become a musician full time? What was that moment like?

I just knew I was never going to work a nine to five (laughs). Like, in as much as I could work for someone, I want to work on my own terms. I want to work while creating my own future, my own art. I didn't know I was going to be this big or go this deep into music, but I knew I was going to be a star. I started off as a dancer, and then I started acting, and then music just came along. Music had always been there, but I really didn't know what exact talent I was going to use to actually push my stardom. But I feel like music eventually won, because I think that's the most natural thing that comes to me. 

Is there a co-sign from another artist, or anyone really, that excited you more than anything other? Who's the most important supporter?

Every single human being that streams my music is my biggest co-sign. I would say Drake, but I mean, a woman somewhere in Congo taking out her hard earned money to stream my music is my biggest supporter, or the woman somewhere in the South of France using my songs to serenade her husband for their wedding anniversary. I feel like every single person that ever invested in my music should be regarded as my biggest co-sign ever.

What’s the biggest career milestone of yours so far? What is something that you are really proud to have accomplished

My biggest career milestone is the fact that I never stopped, that I'm still here, that I'm still trying to achieve my goals, regardless of all the obstacles, regardless of where I come from. Trust me, being a Nigerian alone is an obstacle, because we’re making it against all odds. We're doing this in hardship, in poverty, and we're still excelling. So being able to achieve my dream alone is my biggest milestone. 

Were there any particular obstacles in the making of this album that you had to surpass?

Obstacles have to happen for you to value every success that you achieve, so from the paperwork down to me having to go re-record the entire album in London, down to selection problems, down to me having to let go of some personal, sentimental songs that didn’t fit the theme of the album, down to having sleepless nights, always having to push the album date, thousands of Zoom meetings – it's a long list. That's why I'm so grateful that this album exists.

What would you say the theme of the album is overall?

Royalty, African excellence, and Black is the new cool. Being Black is a flex. Afrobeat is beyond the music. Afrobeats is who we are. Afrobeats is a Twitter banter. Afrobeats is the trends, the fashion, what we eat. Afrobeats is an identity. So I understand when people try to carve a niche for themselves, but what I don't like is when it’s at the expense of Afrobeats, discrediting what we're fighting for, which is an identity. You wouldn't see Kendrick Lamar, no matter how many triple or quadruple entendres he might put on a record, try to downplay hip hop, because that's the identity they're trying to represent. So I feel like this album is just an embodiment of all of that, authenticity, originality. 

** In terms of what you put into the lyrical content or the sound of the album, how do you think that identity manifests on Oxlade from Africa ? **

I sang about my struggle. I sang about love, I sang about gratitude. I sang about prophesying greatness into one's life. Everything I am in real life was transferred into melodies, and that is why I feel like that is authentic enough to be labeled Oxlade from Africa and an African album, because I'm African, and I'm literally singing my experiences into music. 

And those personal songs that you had to leave off, why exactly weren’t they right for this project? And are you going to try and put them out at some point?

Definitely, they're gonna fit into the project they were made for. Some of them were probably extremely pop records, and they defied the theme and sound that I was trying to create for this album. Some of them could be techno music. Some of them could be different types of genres that didn't fit the theme of the album, not because the songs were not good enough. So definitely, those songs are gonna find an album that benefits them. 

Who would you love to collaborate with the most?

Dead or alive? Michael Jackson is a no brainer, because I feel like he's the greatest to ever do it. He made Black boys mainstream. I don't know if you understand what that means, like he’s the first Black pop artist to be televised on MTV. You know, all those types of milestones made boys like us, at home in Africa, believe that anything is possible. Another person I would like to work with is probably Drake. Him, Kendrick , Lauryn Hill , and the list goes on and on. There's Chronixx from Jamaica. I just love spiritual, ethereal musicians

What's one thing that people might not know about you?

I'm asthmatic. People don't know that. That's why I dropped my first ever project, an EP called Oxygene . People didn't realize it was me raising awareness for asthma patients around the world, to tell them they’re not alone and that music would be the air you need to heal you from asthma. I'm also a cat guy, I have two cats.  

Does your asthma ever give you difficulties when performing?

Oddly enough it never has. I feel like the pressure and the intensity that comes with climbing the stage turns all sickness into hype. Like you're about to get onstage, nothing is messing you. 

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Amapiano may have started in the townships of South Africa, but it didn’t stay there. Amapiano artists Kabza De Small, Uncle Waffles, DBN Gogo, and others detail how the genre went from the underground to the GRAMMY stage and beyond.

At nightclubs in Tokyo, New York and beyond, pulsing through the speakers at major European music festivals, and even in Hollywood blockbusters, one sound has been steadily taking over: amapiano. 

The South African genre, with a blend of deep house, jazz, lounge and local musical styles, has captivated the world, generating billions of views on social media and sparking a cultural phenomenon that shows no signs of slowing down. On TikTok alone, the #Amapiano hashtag has amassed over 10 billion views, a testament to its global reach and popularity.

Characterized by velvety, hypnotic grooves, piano melodies, deep basslines, and smooth percussive rhythms, amapiano was born in the townships of Gauteng Province — particularly in cities like Pretoria and Johannesburg — in the mid-2010s. Slower than the average club track, amapiano songs often live between 110 and 120 bpm. The genre's rise to global dominance is a testament to the power of grassroots creativity and digital connectivity. 

Fast-forward to February 2024, and South African singer Tyla took home the inaugural golden gramophone for Best African Music Performance at the 2024 GRAMMYs . Beyond Music's Biggest Night, Tyla's amapiano-infused Afropop hit "Water" topped the Billboard U.S. Afrobeats Songs and Hip-Hop/R&B charts, and became the first African song to enter the Billboard Hot 100 since 1968. The "Water" dance challenge on TikTok — created by Tyla’s choreographer, Litchi — also widely pushed the song.

Tyla isn't alone in pushing the genre's popularity. Interest in amapiano has been propelled by social media and streaming platforms. According to Spotify data , the genre garnered its first 100 million streams in 2020; by mid-2024 the platform reported 855 million streams of amapiano songs. Between 2014 and 2024, there has been a 153 percent growth in international exposure to the genre. 

While Tyla’s win at the GRAMMYs and in wider culture affirms the genre’s solid footing in the global music scene, amapiano’s popularity is the result of a decade-long journey. 

The Birth Of A Movement

While the birth of amapiano is generally pegged to 2014, there’s no specific event or single person that can be credited with its uprising. Amapiano's origins were humble but innovative, distinguished by its inclusivity and collaboration — factors that are likely the result of the fluidity with which the genre emerged. 

Young, aspiring producers in South African townships used affordable personal computers and free music production software to blend globally-influenced sounds such as deep house and jazz with kwaito — a distinctly South African genre. True to the collaborative nature of the genre's origins, an amapiano song can have six to 10 collaborators (sometimes more); the result is a blend of carefully curated voices, notes, and themes that captivates listeners far beyond its birthplace.

Kabza De Small began his career in 2009 and broke through on the continent with his 2016 album Avenue Sounds . Today, he's hailed as the "King of Amapiano" by media , fans and industry peers. "Amapiano is considered a raw, rough sound. To see people globally dancing and participating in TikTok challenges is thrilling," he tells GRAMMY.com, reflecting on amapiano's unique sound and present-day virality.

This rawness is largely reflected in the genre’s production, which often strips down tracks to their bare essentials. Repetitive beats and bass often contribute to amapiano's "rough" aspect, making it feel more direct and visceral. Soulful melodies float over that heavy bass and percussion, and catchy vocal hooks balance the raw beats underneath.

Amapiano’s collaborative nature has been crucial to its development. Kabza De Small shouts out pioneering producer, singer and songwriter, Mdu aka TRP. "Not a lot of people know that he basically founded the log drum sound that is so essential and distinct" to amapiano, De Small says. In amapiano, the "log drum" isn't an actual instrument but a distinct, synthesized bass sound that captures the deep, resonant tones of a traditional log drum. This signature sound has become a cornerstone of amapiano's unique and captivating vibe.

From Local Phenomenon To National Breakthrough

Cultural authenticity has been a key factor in the sound's appeal. It's not just a genre of music, but a representation of South African identity and expression. The name itself came from the Zulu language, which is the word for "pianos."

By 2016, amapiano was still finding its ground, with local DJs and producers refining its signature elements. 

Learn more: 11 Women Pushing Amapiano To Global Heights: Uncle Waffles, Nkosazana Daughter, & More

A significant milestone was achieved in 2017 when De Mogul SA's "Oe Batla Kae" became one of the first amapiano tracks to achieve commercial success. The tune got the artist booked for local shows, effectively paving the way for other amapiano songs. In 2018, "Umshove" by Kabza De Small feat. Leehleza showcased a more refined amapiano sound, highlighting elements that "Oe Batla Kae" lacked — particularly the log drum.

2019 was a defining year for amapiano, as songs like "Labantwana Ama Uber" by Semi Tee (feat. Kammu Dee and Miano), "Vula Vala " by DJ Maphorisa and Kabza De Small (feat. Nokwazi and Vigro Deep), and "Kokota Piano" by Kaygee Daking and Bizizi further left the underground. Amapiano could be heard on television and radio, in clubs, and across social media, effectively making the above songs anthems throughout South Africa. 

As the sound began to spread nationally, it carried with it the stories, language, and rhythms of its birthplace, creating a strong connection with listeners across the country.

The Global Takeover

As the world grappled with COVID-related lockdowns in 2020 and 2021, danceable amapiano songs such as DBN Gogo and Musa Keys ' "Possible," Focalistic's "Ke Star" feat. Vigro Deep, and "Emcimbini" by Kabza De Small and others provided a much-needed escape. With more time spent online during the pandemic, the genre was simultaneously making its way into social media globally, with a variety of TikTok dance challenges bringing additional listeners to the genre.

International collaborations further catapulted amapiano onto the world stage. In 2022, Nigerian crooner CKay collaborated with Davido and Focalistic on  "Watawi" , a notably huge Afropiano song. On YouTube, the songs performed quite well, with "Woza" by South African artists Mr JazziQ, Kabza De Small and Lady Du featuring Boohle hitting 21 million views. "Mang’Dakiwe" by DJ Obza featuring Leon Lee hit 17 million views. The remix , done in collaboration with Tanzanian bongo artist Harmonize garnered 29 million views.

By 2023, the amapiano sound was now mature and definitive, with all of its key elements together. Over the next few years, amapiano sounds would be incorporated with genres from other countries to great effect.

Zimbabwean amapiano vocalist Sha Sha's "Tender Love" feat. DJ Maphorisa and Kabza De Small garnered more than 15 million views on YouTube. The popular release showcased her impeccable vocal range and denoted that amapiano was now being done by artists beyond South Africa. For her efforts, Sha Sha took home the Viewer’s Choice Best New International Act award at the 2020 BET Awards. Her win on an international platform signaled amapiano's arrival on the global music scene and opened doors for more artists to gain international exposure.

Simultaneously, awards for and documentation of amapiano within South Africa pushed the movement even further. In 2021, the South Africa Amapiano Music Awards were launched and exclusively dedicated to the genre. The inaugural Best Amapiano Album Of The Year Award was given to De Mthuda for Ace of Spades.

Uncle Waffles , whose electrifying DJ sets have made her a symbol of the genre's youthful exuberance, marvels at this global embrace. "It's amazing to see the world embrace a new sound," she tells GRAMMY.com. "Seeing people dancing and singing to the songs never fails to stun me." 

Amapiano artists including Uncle Waffles, DBN Gogo, and Major League Djz have performed on a variety of global stages, from AfroNation's Portugal and Miami events to Coachella and London's O2 Arena. Tyla has performed at the BET Awards, the 2024 Olympics and the Cannes Lions Festival 2024.

Encouraging Cross-Cultural Collaborations

Amapiano has become a cultural ambassador, allowing artists in the diaspora to connect with their roots while introducing the sound to new audiences. 

Amapiano singer Nqobilé Danseur, who grew up in South Africa before moving to the UK at age 12 , tells GRAMMY.com that "amapiano is deeply personal to me as it embodies my South African heritage and journey. Growing up in South Africa, kwaito was the soundtrack to our lives."

The genre's authentic DNA has allowed artists to explore new territories, both geographically and creatively. Nqobilé recounted her 2022 single "Shake" featuring Xavier being played during a carnival party in New York, and how the crowd's engagement reflected amapiano's ability to transcend cultural and physical boundaries.

Singer/songwriter Boohle, who transitioned from gospel and Afropop to amapiano, has toured Dubai, Amsterdam, and many African countries. "Seeing cultures and backgrounds unite over the music we make is something else. I would call it God's plan," she tells GRAMMY.com.

This international appeal has seen the rise of crossover subgenres such as Afropiano (Nigeria), bongopiano (Tanzania), Gqom 2.0 (South Africa), and bique (Mozambique). Afropiano tracks have garnered hundreds of millions of views on YouTube as of 2024. Among the largest hits are Kizz Daniel and Tekno's "Buga," Spyro's "Who is Your Guy" remix feat. Tiwa Savage, and "Unavailable" by Davido feat. Musa Keys.

Diamond Platnumz, a Tanzanian bongo artist, is a prolific contributor to the amapiano genre. "Tanzania has a very close relationship with South Africa from years back established with our forefathers," he says, adding that he also has family in South Africa. "I spend a lot of time there between business and family obligations. It was a natural thing for me as a creative to infuse what I was hearing on the ground in SA with what we are accustomed to in Tanzania."

Platnumz's amapiano catalog is impressive, with songs such as "Iyo" , "Shu!" , and " Nitongoze." He has collaborated with the genre’s heavyweights including rapper Focalistic, choir Mapara A Jazz, and the late Costa Tich. His 2024 amapiano single "Komasava" remix is an international collaboration that featured Khalil Harrison, Chley, and Jason Derulo. 

The track, rich in amapiano beats, layered with modern pop elements, and Zulu, Xhosa, French and Swahili lyrics, exemplifies how the genre has become a bridge between artists from different parts of the world.

Cultural Impact Beyond Music

As amapiano spread globally, it began to influence fashion, dance, and broader culture. 

The genre's success has also opened doors for African artists to venture into arenas outside of performing music. Kabza De Small created PianoHub, a record label which houses South African amapiano artists including Young Stunna, Mdu aka TRP, Nkulee & Skroef28, Deeper Phil, Masterpiece TVK, and Stakev. De Small added that he plans to open a venue called Piano Hub Soweto — another example of how amapiano has created economic opportunities and fostered community development.

DBN Gogo echoes this sentiment, adding that amapiano has broadened the horizons for many in the industry. "Outside of music, I think my team and I have been grateful for the opportunity to travel and see the world," she says. "Whenever we do have the opportunity we take time in different countries to immerse ourselves in the dance culture there. Amapiano has done so much in giving us and many others the chance to represent South Africa and the genre worldwide."

The success of amapiano has boosted Nqobilé Danseur's confidence, affirming her authenticity and driving her to release music consistently. Diamond Platnumz adds that he has become more aware through his involvement with amapiano, making his life's purpose even more meaningful. This July, DBN Gogo became the first amapiano DJ to perform at Belgium's Tomorrowland festival.

Even Beyoncé has taken notice: Uncle Waffles' debut single "Tanzania"  was featured during a dance break on the European leg of the Renaissance World Tour.

Looking To The Future

As amapiano enters its second decade, its influence shows no signs of waning. The genre continues to evolve, with artists experimenting with new sounds and collaborations that push its boundaries. 

Going forward, listeners can expect to see amapiano artists continuing to team up with global stars, experimenting with sounds that cross genre boundaries, from Afrobeats to electronic dance. 

In October 2023, DBN Gogo collaborated with veteran Italian EDM DJ and producer Benny Benassi on a track titled "SAdesFakSHen ." In June 2024, Chris Brown released "Hmmm," an Afropiano song featuring Davido. The song, which is part of his 11:11 album now has over 14 million views on YouTube by the time of this publication. Previously, Chris Brown appeared on the "Monalisa" remix, an Afropiano hit by Nigerian singer Lojay and producer Sarz.

"Tshwala Bam" by TitoM and Yuppe is another 2024 amapiano hit that saw Burna Boy jump on a remix. The song spawned a massive TikTok challenge, which got Tyla dancing with famed streamer Kai Cenat , while Khabi Lame joined in on the challenge, and Jason Derulo collaborated with popular twins Laurent and Larry Bourgeois on the dance. 

Despite its success, amapiano faces challenges as it continues to grow. Maintaining its cultural authenticity while appealing to a global audience is a delicate balance. There's also the question of how to ensure that the pioneers and grassroots creators of the genre continue to benefit from its global success.

Boohle envisions a bright future for the genre. "Seeing the world jamming to amapiano is a dream come true for me as a young musician in South Africa," she says. "Remember, we come from a background of apartheid and oppression. Seeing cultures and backgrounds unite over the music we make is something else."

The story of amapiano is still being written, with each new release, collaboration, and dance challenge adding a new chapter to this remarkable musical journey. As it continues to evolve and inspire, one thing is certain: The amapiano revolution is far from over – it's just getting started.

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In the 1990s, artists and producers from Accra merged the sound and aesthetic of American hip-hop with their Ghanaian sounds and culture. The resulting genre, hiplife, significantly influenced the music coming from Ghana and the African continent.

Ghana has been home to some of the most recognizable musical exports from the African continent, contributing heavily to the globalization and development of the continent's sound. While highlife is regarded as the country’s biggest sonic export, the introduction of hiplife some 30 years ago invigorated the Ghanaian music scene and birthed some of the country's most important artists. 

Hiplife music blends hip-hop from the West with Ghanaian highlife sounds like Jama and Kpanlogo — a sound and dance by the Ga people, who make use of nono (metal bell), fao (gourd rattle), and local drums to play beats. These elements were fused with funk, bass, and boom-bap to create hiplife. Hiplife and hip-hop have aural similarities and both use rapping; both genres also reflect a larger culture. 

While Gyedu-Blay Ambolley is considered one of the earliest rappers, as demonstrated on his 1973 song "Simigwa-Do," the term "hiplife" was only coined in the late 1990s by genre pioneer Reggie Rockstone. Still, American hip-hop had arrived in the Ghanaian capital of Accra by the early '90s and local rappers began to release their own music soon after. Duo Talking Drum were among this early cohort, and their single " Aden" was an underground hit in 1993.

As a movement and culture, hiplife is also an identity,  created to encourage people to be daring in their exploration of sound. Pioneering hiplife artists like Root Eye Samini and Shatta Wale (then known as Bandana) fused dancehall and highlife in the early 2000s to make music which could connect with local audiences.  

Collaborations between artists and producers have been crucial in defining the sound, evolution, and amplification of hiplife. Just as hip-hop has developed a plethora of subgenres , hiplife has birthed other sounds such as azonto and asakaa . An offshoot of asakaa, Ghanaian drill, was among the elements in the new Best African Music Performance Category at the 2024 GRAMMYs.

The story of hiplife includes many important producers, artists and labels, including Kassa Records, DJ Rab, Zapp Mallet, Akyeame, Panji Anoff, JayQ, Hammer,   Ex Doe, Chicago, and Okomfour Kwadee. Going forward, the mantle will fall on artists like TicTac, Abrewa Nana, Appietus, and much later a younger generation including  Asem, Richie Mensah , and Beeztrap KOTM continue to amplify hiplife. Afrobeats artists have also taken notice; Tic Tac and Tony Tetuila’s "Fefe Ne Fe " was sampled on the 2019 song "Gbese" by DJ Tunez feat. Wizkid and Blaqjerzee. 

With African music continuing to gain global recognition, the rich sounds emanating from the African continent are ripe for exploration.  Read on for 10 artists who have been essential to the story of hiplife music.

Reggie Rockstone

Reggie Rockstone is regarded by many Ghanaians as the godfather of hiplife, having paved the path for many to pursue rapping as a career. Working with producers like the late Rab Bakari (DJ Rab Bakari), Reggie set the ball rolling for hiplife through songs like "Tsooboi." 

His 1997 album Makaa Maka offered an early template for the sound, fusing Western-influenced hip-hop with traditional Ghanaian highlife sounds. The linguistically adept Reggie Rockstone — a Ghanaian boy who was raised in the UK and New York — rapped in both English and impeccable Ghanaian Twi to the shock and admiration of many. By this singular act, he proved that it was cool to rap in your own dialect and not necessarily in English, like American rappers of the '90s.

Reggie's will to make Ghanaian rap music stand out via releases like Me Na Me Kae , and Me Ka did not go unrewarded. He also scored hits with his singles "Keep Your Eyes on the Road," "Plan Ben," and "AH." He has also collaborated with dancehall giant Beenie Man and Nigerian legend 2Face .

Lord Kenya rose to fame when he joined Slip Music, one of Ghana’s celebrated music labels of the late '90s and mid-2000s. His musicality was undeniable, and his hardcore rap style was adored by many for its energetic flow and delivery.  Likened to Tupac Shakur , Kenya was very direct whenever he was on the mic. He never shied away from any lyrical battle thus earning him the title "rap heavyweight." His swagger on and off the mic made him a star, with many eager to catch him anytime he performed.  

Lord Kenya's street affinity, coupled with great stage performances, left a mark on Ghanaian audiences. His albums — including 1998's Sika Card, Yesom Sika, and Sika Baa — solidified his position as one of hiplife’s most important artists. Kenya's hit singles " Enyomo ," "Medo" and "Sika Mpo Mfa Neho" as well as his verse on the late Daseebre Dwamena’s song, " Kookoo " ushered in a street approach to the rap scene, as seen in the careers of rappers like Kwaw Kese and Kweku Smoke in later years.

Revered, celebrated, and crowned by music rap purists in Ghana as "Rap Sofo" (high priest of rap), Obrafour influenced multiple generations of rappers in Ghana. The artist first gained popularity in the late '90s with his cadence and mastery over his mother tongue, Twi, as well as his storytelling, lyricism, and wisdom.

Obrafour’s flow complemented the work of legendary producer Hammer, who brought hard-hitting drums, horns, and legendary sharp chords to Obrafour’s 1999 album Pae Mu Ka . The album is regarded as the bridge that connected older audiences who dismissed hiplife as a passing fad and the youth, who regarded hiplife as the future of Ghanaian music. Today, Pae Mu Ka is as important to hiplife as Nas’ Illmatic is to hip-hop.

Pae Mu Ka was the first of several collaborations between Obrafour and Hammer. Together, they created a sound that would influence generations of rappers. Obrafour is held in high regard by rappers such as M.anifest , Guru, Ko-Jo Cue , and Pappy Kojo.

Established in Nima, a suburb of Accra, VIP underwent significant personnel changes but never let their commitment to hiplife music falter. Original member Friction later onboarded Promzy, Prodigal, and Lazzy (who later changed his name to Zeal), and Bone championed the vision of the group for over a decade (as well as the departure of  Friction, Bone and Promzy).

Backed by the group's diverse personalities, VIP quickly became one of the biggest music exports of the country, winning six awards at the Ghana Music Awards in (2004), including Song Of The Year for the 2003 hit title track "Ahomka Wo Mu." Over a two-decade period, the group released albums and scored several hits and collaborated with some of the continent's finest, including   2Face , Patoranking and a host of others. Vision in Progress (VIP) epitomized the cultural ethos of hiplife: raw energy, passion and talent.

When Reggie Rockstone, a longtime admirer of the group, arrived in 2014, the group became  VVIP. The group’s success would be further cemented as they crossed over into Nigeria and other parts of the world. "Ahomka Wo Mu" has been sampled and interpolated by various musicians, including songs by   MUT4Y & Wizkid   and Kida Kudz.

While Twi rapping artists dominated the hiplife music industry, very few artists were successfully making music in other local dialects. Tinny — a rapper who raps in Ga, a language spoken by the people of Accra —  rose to the occasion with both rap and fashion. Another product of Hammer’s Last Two record label, Tinny had an unmatched aura that earned him the moniker "Sexy Man Tinny." Early aughts albums such as Makola Kwakwe, Aletse (Akwe Polo), and Kaa Bu Ame still echo in today’s industry. His later works with record producer Richie Mensah on singles like "Ringtone" and "Now I Know" further entrenched his name in Ghana’s hiplife history.

Tinny’s will to pursue rap music in Ga laid the foundation for artists such as Edem , who raps predominantly in Ewe and to a degree music duo Blackstone who performed in Dagbani. Tinny also featured in the BET Hiphop Awards International Cypher (Ghana) alongside Reggie Rockstone, Sarkodie, D Black, Edem, Kwaku-T and Baby G (2010).

In a male-dominated industry, Mzbel created change that still reverberates today through the careers of women like Amaarae , Wendy Shay, Sister Afia and Gyakie . Following in the footsteps of those before her, like Abrewa Nana (a household name in the early 2000s for her role as one of the leading female artists in hiplife), Mzbel's singing and rap skills were not just catchy, but thought-provoking with themes of love, sex, body positivity, and addressing abuse.

Mzbel's non-conformity made her a target by some aspects of the industry . The general public who felt she was a bad influence on younger girls, due to the sensuality in her lyrics and imagery. Yet she was unphased. Mzbel scored national hits with her albums Awosome, and 2005's 16 Years , and touched on issues many regarded as controversial. The rapper stood up for women’s rights and encouraged women to be vocal about things society heavily criticizes women for. She ensured that women were not bullied into silence but instead express themselves fully through art. Her hit single "16 Years" with the late Castro touched on the issue of sexual harassment and abuse young girls face at the hands of older men and, as such, became a national topic.

Since bursting onto the scene in 2008, Sarkodie has churned out multiple hits year after year with a unique flow and delivery. His records touch on multiple subjects, including friendship, family, love, heartbreak, and bad governance. His hold over rap in Ghana has been extended across the continent, making him one of the most influential rappers in Africa.

In 2012, Sarkodie played a pivotal role in the amplification of azonto music (an offshoot of hiplife that melds dance music genre from the early 2010s with upbeat fast-paced sounds and witty comical lyrics) with his song " U Go Kill Me " with fellow rapper E.L. Winning "Artist Of The Decade at the" Ghana Music Awards (2019 ), cemented his influence and status.

Rapping predominantly in Twi, Sarkodie’s ability to find pockets on the beat has made him a frequent featured artist by the likes of Mr. Eazi , Ice Prince, Flavour, Victoria Kimani, Patoranking and a host of other important artists in Africa. Sarkodie won Best International Act: Africa (2012) and the inaugural Best International Flow at the BET Hiphop Awards in 2019.  

Asakaa Boys

In a time when hiplife had taken a back seat to Afrobeats and amapiano on the Ghanaian market, a group of artists from Kumasi (Kumerica) — a slang used to describe people of Kumasi who enthusiasts of American music and culture — burst onto the scene via asakaa, or Ghanaian drill. Inspired by Pop Smoke’s drill music, the sound reflects their lifestyle on the streets of Kumasi, hiplife elements, and American hip-hop culture such as fashion.

The name asakaa originates from the word saka , a flipped slang of the Twi word kasa , which means to speak. Saka , a style of speaking where words are pronounced backwards, was heard in the songs that were released by the Asakaa Boys. The asakaa sound is credited to the Kumasi-based Life Living Records, and signees Jay Bahd, Kawabanga, O’Kenneth, City Boy, Kwaku DMC, Reggie, Sean Lifer, Braa Benk and Skyface SDW under the moniker The Asakaa Boys .

With songs like " Akatafoc ", " Sore ," and "Agyeiwaa," and leading the charge, Asakaa (Ghanaian Drill) has gained recognition locally and internationally in the 2020s.

Black Sherif

Black Sherif may be young, but he has already charted a path of success for himself in Ghana’s music industry which many are yet to match. Black Sherif’s sound, writing, fashion, and mannerisms have earned him admiration. He first tasted popularity when his song "Money" went viral in 2019; two years later he regained public attention in 2021 with his First and Second Sermon songs and after a Burna Boy cosign on " Second Sermon Remix, " Black Sherif's popularity soared.

The artist has gone on to deliver multiple hit songs such as "Kweku The Traveller," "Soja," and a monstrous guest verse on Odumodu Blvck’s "Wotowoto Seasoning." In 2023 he won Artiste of the Year at the Ghana Music Awards and a BET Awards Best International Award . Additionally, he has performed on global stages at MOBO Awards , Wireless Festival, and 2023's AfroNation.

King Paluta

With a charisma like that of Lord Kenya, King Paluta is an energetic rapper with some "thugness" in his delivery influenced by life on the streets of Kumasi. As a young man, he often slept in the studio, where he learned how to operate the equipment in the studio and dropped his first official single in 2015. 

Despite releasing music and being popular in Kumasi, he would only gain national attention in 2023 for " Yahitte ," which earned him the award as the Best New Artist at The Ghana Music Awards in 2024 . In the 2024 alone, he has scored two charting-topping singles, " Aseda " and "Makoma," making him arguably the hottest artist in Ghana.

As a student of hiplife, King Paluta has fully embodied the genre as evident in his music. He has positioned himself to carry on the legacy of those before him as far as hiplife is concerned, and he is on track thus far.

Photo: Scott Dudelson/Getty Images for Coachella

After a successful first year, Afro Nation Detroit returns to Bedrock's Douglass Site on Aug. 17 and 18. Get to know some of performers who are sure to be weekend highlights, from Uncle Waffles to Scorpion Kings.

Since its inception in 2019, Afro Nation has brought together the world's best and brightest entertainers in Afrobeats, amapiano, R&B, and hip-hop to perform on stages across the world. For the second year in a row, the festival takes over Bedrock's Douglass Site in Detroit — promising to continue its tradition of highlighting the best in Black music.

With its unique Detroit location, the festival bridges the gap between African music, global Black music, and the rich musical traditions that came out of Motown. In fact, the festival's site was once home to the first federally funded housing project for Black citizens in the city; Diana Ross and Smokey Robinson were among its residents. 

Afro Nation Detroit offers as much history as it does global appeal, as its lineup is filled with buzzy rising stars and beloved veteran acts. Among those on the star-studded roster are Nigerian sensations Omah Lay , Rema and Asake , amapiano stars Kelvin Momo and TxC, and hitmakers Lil Wayne and PartyNextDoor . 

Of course, it wouldn't be a Detroit event without native rapper Kash Doll, who performs on Saturday. And she won't be the only Detroiter performing over the weekend: genre-bending soul singer Charity and DJ Donavan Glover will also be repping their city amid sounds from around the globe.

That's just a taste of the exciting performances scheduled to showcase the diversity of Black music in one of its influential cities. Below, get to know eight acts who you won't want to miss at the second edition of Afro Nation Detroit.

Sat., Aug. 17 (Lit Stage)

At the age of 22, Ayra Starr is already making history. In February, The Beninese-Nigerian singer was the youngest nominee in the inaugural Best African Music Performance Category at the 2024 GRAMMYs ; and in June, her debut album, The Year I Turned 21 helped her become the first female Nigerian artist to debut on the Billboard 200 album chart.

Just before her Afro Nation appearance, Starr added another first to her resume: she became the first Afrobeats singer to be part of Amazon Music's Breakthrough Artist program. The honor aligned with the release of her Amazon Music documentary, Dare to Dream , which chronicles her rise to global fame. There's no doubt that Ayra Starr will offer a showstopping performance that proves why she's such an acclaimed artist to watch.

Uncle Waffles

Sat., Aug. 17 (Piano People Stage)

Often regarded as the "princess of amapiano," Uncle Waffles is one of the genre's most forward-facing talents. In less than five years, the internationally recognized DJ/producer has been listed on TikTok's inaugural Visionary Voices Africa List, been nominated at the BET Awards and MOBO Awards; this year, she became the first amapiano artist to perform at Coachella.

Her talents have also earned Uncle Waffles co-sign from Beyoncé — whose Renaissance World Tour homage to Uncle Waffles' "Tanzania" nearly brought the star to tears — Drake, Ciara, and Missy Elliott. Needless to say, Uncle Waffles is an act that you won't want to miss at AfroNation Detroit.

Read More: 11 Women Pushing Amapiano To Global Heights: Uncle Waffles, Nkosazana Daughter, & More

Think Daft Punk , but amapiano. Masked South African DJ duo 2woBunnies decided on the concept of anonymity as a way to create intrigue about their unique take on the genre, and let their music do the rest.

Though it has only been two years since their debut, they have done just that, from garnering more than 1 million likes on TikTok to performing sets everywhere from Dubai to Australia. Following first-time performances in major cities like Paris and Toronto, they'll make their Detroit debut next — and you don't want to miss the excitement they'll bring to Afro Nation. 

Kizz Daniel

Since releasing his breakout single, "Woju," in 2015, Kizz Daniel has been a trailblazer in bringing Afrobeats to the world. And nearly 10 years in, he's continuing to deliver songs that resonate — including a hit remix of "Twe Twe" with fellow Nigerian star Davido .

Kizz Daniel's Afro Nation performance comes on the heels of another fiery remix, as he recently hopped on Nigerian artist Kaestyle's "My Dealer." He'll have plenty of new songs from his own catalog to bring to his set, too, including his latest single, "Double,” and EP TZA . Whether new or old, Kizz Daniel will be ready to give his crowd a lesson in Afrobeats.

Sun., Aug. 18 (Lit Stage)

In May, Shenseea released her sophomore studio album, Never Gets Late Here , which solidified the GRAMMY nominee as one of Jamaica's most promising rising stars. "Hit & Run", the album's single, was warmly received throughout the Caribbean, reaching No. 1 on several charts across Antigua and Barbuda, Turks and Caicos, Bermuda, Barbados, Trinidad and Tobago, and many other countries in the region.

Fittingly, Shenseea first brought Never Gets Late Here to life on stages across the Caribbean, where her onstage energy matched the hyped crowds. She stops by Afro Nation Detroit just after kicking off her Never Gets Late Here North American Tour in Chicago on Aug. 16, so she'll surely be ready to show festgoers why she's so beloved in her home country and beyond.

To say Amaarae is in demand would be an understatement. Sabrina Carpenter personally requested the Ghanaian American artist as an opening act for her forthcoming tour; Childish Gambino featured her on his new album, Bando Stone & the New World , and its accompanying tour; and she recently made history as the first Ghanaian artist to perform on NPR's Tiny Desk.

Her latest release, roses are red, tears are blue — A Fountain Baby Extended Play , are equal parts Afropop and alté, a fusion genre that originated in West Africa and combines hip-hop, R&B and Afrobeats. Her sweet, alluring nature signifies her place as one of the most exciting new talents to take over pop. Don't miss the opportunity to see a new global pop girl take center stage. 

Scorpion Kings

Sun., Aug. 18 (Piano People Stage)

DJ Maphorisa and Kabza De Small — often referred to as the "godfathers" of amapiano — are the men behind Scorpion Kings. Already established in their own right and respected in South Africa's dance scene, the two have been inextricably linked to the global rise of the genre, and the celebration of South African and African music across the globe.

Last month, the pair performed alongside the who's who in amapiano — Kelvin Momo, Oskido, DJ Tunez, DJ Moma, Aquite, and the Descendants — in Central Park, making history as the first amapiano performance in the famed New York landmark. The duo is sure to keep the party going with their signature flair in Detroit.

There is a good chance that you know of DJ Moma. In addition to being one of the founding members of Everyday People, the Sudanese American DJ has been playing African music in venues throughout the country and world for over a decade.

His blend of African and Diasporic music, and incorporation of soca, amapiano, and dancehall are a celebration of everything that is global Black music. It is more than music to him, but a way to bring Diasporic musical traditions to the forefront, in an effort to connect and unify People of the African Diaspora across the globe. His mission will make for an Afro Nation Detroit moment that is as meaningful as it is joyful — a combination that's exactly what the fest is all about.

Photo: Shoakland

Victony's debut album, 'Stubborn,' is just months old, but the young Afrobeats star is rising fast. Ahead of his first headlining U.S. tour, Victony detailed the creative process behind his new album and his predictions for the next year in Afrobeats.

To say that the past year has been an eventful one in the dynamic world of Afrobeats would be, at best, a gross understatement. The genre's list of global accolades has continued to swell in size, including multiple nominations at the 2024 GRAMMY Awards , expansive cross-border collaborations, and inaugural appearances on some of the world’s most coveted stages.

Simultaneously, Afrobeats has been undergoing something of an identity crisis, in which listeners have criticized sonic monotony and Western pandering of some artists. In the immediate wake of this criticism, as though on cue, came a slew of forward-thinking projects from the genre’s biggest stars, igniting the mainstream scene’s creative progression. Among these stars is 23-year-old Afrobeats sensation Anthony Ebuka Victor, known widely as Victony .

His debut album, Stubborn , is barely two months old yet has already received high acclaim from top Afrobeats pundits and laymen alike. Therein, Victony tells his life story for the first time, complete with vivid songwriting that delves into themes of childhood, romance, and dogged resilience. With features from Nigeria’s Asake and Shallipopi , as well as American acts Teezo Touchdown and Saint JHN, Stubborn 's sonic meter explores Afrobeats with unending - and unmatched - innovation.

Victony , however, is no novice when it comes to putting out pristine bodies of work. His 2020 EP Saturn sounded nothing like a 19-year-old’s debut; singles “Jo Riddim” and “Space and Time” revealed serious sonic maturity. His subsequent EP Outlaw, which followed his breakout as the feature on Mayorkun’s “Holy Father,” included addictive hits “Apollo,” “Jolene,” and “Soweto.” The latter, of course, took the world by storm and led to a remix featuring Don Toliver and Rema, which peaked at No. 5 on the Billboard Afrobeats chart.

Between this, his debut on the ColorsxStudios platform, his assist on Burna Boy ’s “Different Size,” and his record deal with the L.A.-based Encore Records, it is difficult to tell just when this young boy from Ojo, Lagos became a continental and global star. What’s more, he’s soon to push his story outside of Nigerian borders, kicking off his Stubborn North American tour on Aug. 6.  

Ahead of this tour, Victony sat down with GRAMMY.com to discuss his creative process, the importance of telling his story, and all things Stubborn .

'Stubborn' features excellent songwriting about your life experiences, though it's not the first time you've done so. What makes 'Stubborn' different from the other work in your discography?

Stubborn has my story; it’s where I get to properly introduce myself. The [ Outlaw ] EP is like Yeah, this guy can sing, he knows all this Afrobeats stuff. Let’s put a good body of work together for people to enjoy . The Stubborn album is saying, This is Victony . This is where he’s from. This is what he’s about .

You’ve mentioned before that veteran Nigerian rapper Olamide encouraged you to make 'Stubborn' a full-length album as opposed to an EP. Had you been ready for an era shift at the time that you spoke to him?

I was prepared for an era shift, but my mind was just stuck on an EP because that was the plan since last year. Sometimes, you can’t even see what everything looks like when you’re really in it. You have to extract yourself from the situation and really look at it. But speaking to Olamide, once he mentioned the album, it felt possible. I was like, Why am I not even thinking about an album?  

'Stubborn' is an incredible testament to resilience, but you also explore other themes like love and betrayal. What is the overarching message that you wanted the project to convey?

Resilience is the boldest statement that the project has. But within all that, there are other things that I’ve been through, like the stuff that you mentioned, that didn’t change me as a person.

I still have the ability to love, and I still have the ability to receive love. So obviously, that reflected in a few songs on the project because I still go through those emotions. I’m still human regardless of everything I've been through.

Your feature list is quite expansive — we have Shorae Moore, Shallipoppi , Saint JHN, Teezo Touchdown, and Asake . Did you have an idea of who you wanted on the project beforehand, or was your feature selection process more organic?

I’m always curious to see what this and this will sound like, or what doing this and this will look like. So I just make songs and think about who will be perfect on those songs. I didn’t think of it as, I want an album, who are the guest features?  

One thing that the features all have is authenticity. These people have a voice, they have a style, they have something that they stand for. And that is something that Stubborn is also preaching — authenticity. So collaborating with these people helped to bring very interesting ideas to life. Because one wouldn’t ordinarily imagine a Victony and Asake feature, or a Victony and Teezo feature. But when somebody who is authentic collaborates with somebody who is authentic, something has to happen. We were just trying to create something, and I love creating.  

Learn more: Meet The Latest Wave Of Rising Afrobeats Stars: AMAARAE, BNXN, Oladapo & More

You have a U.S. tour coming up which is extremely exciting. You’ve toured with Rema before, but this will be your first-ever solo tour. How are you feeling?  

I’m actually very excited. We’ve been planning what we want the tour to feel like, because it’s important to think about the feeling that you want to leave people with. I think that this tour is the biggest opportunity to showcase what the album is really about. Having to go on stage, perform for an hour plus. I don’t think I've ever done that nine times in a row in nine cities. So we’re planning everything to make that all come to life.

What do you want your U.S. audience to take away from your tour?

I want my U.S. audience to feel the essence of my journey and connect with my music. This tour is a journey through my experiences and my evolution as an artist. You'll get the party anthems as well as the soul-stirring ballads. I want them to leave each show thinking, This is what that Victony guy is about: raw talent, authenticity, and a sound that resonates deeply .

Give us your Afrobeats predictions for the year — what should we expect from the scene?

I just feel like it’s about to be a madhouse. Tems just dropped, Ayra Starr just dropped, Ruger & BNXN just dropped. And Wizkid is yet to drop, Davido is yet to drop, Fireboy DML is yet to drop. I don’t think we’ve had a year like this. Ever. It’s like everybody is dropping a project this year.

Read more: Tems On How 'Born In The Wild' Represents Her Story Of "Survival" & Embracing Every Part Of Herself

My prediction is that this is the start of something for Afrobeats . Before now, what people would tell you is that Afrobeats artists all share one fanbase. But everything is about to change because of the volume of music coming out. It’s going to really push structure with the fans.

Looking back from your debut EP to the present day, what comes to mind? Did you foresee yourself becoming what you are now?

I always knew that everything that’s currently happening would happen. I just didn’t know what was going to make it happen. I didn’t know that this was the direction. It’s been interesting because at one point, you just have life experiences that influence your art, and then the direction changes. That’s what it’s been for me because I like my art to reflect who I am at any given time.

So, who knows what’s going to happen next? After Saturn , I didn't foresee my story changing. And now new experiences have come, and those have also changed me. I don’t know what’s going to happen next, but one thing’s for sure, the journey is just beginning. I’m excited to see where this path leads and to continue sharing my story with the world.

• 1 Rising Afrobeats Star Oxlade Is Ready To Go Global On 'Oxlade From Africa'
• 2 Amapiano's Decade-Long Journey To Global Dominance: The Sound Redefining Club Music Worldwide
• 3 10 Artists Essential To Ghanaian Hiplife: Reggie Rockstone, Sarkodie, Mzbel & More
• 4 8 Can't-Miss Acts At Afro Nation Detroit 2024: Shenseea, Ayra Starr, Kizz Daniel & More
• 5 Meet Victony: The Afrobeats Sensation Sharing Importance Of Being 'Stubborn'