The Best Albums Of The 2020s

If African music commanded the world’s attention at the tail end of the 2010s thanks to its melodic and inescapable singles, the 2020s have proven to be a whole different ballgame. Thanks to the work of musicians from across the continent, the album as a creative medium has roared into prominence throughout this decade, with stars like Burna Boy, Kabza De Small, and Sauti Sol releasing bodies of work that are as definitive as they are invigorating.  

While debates over what may constitute a classic may continue to rage in different places, what is without doubt is that these albums have showcased the breadth and depth of African imagination in a decade that has seen music from the continent become an integral part of global Pop.

‘Made In Lagos’ – Wizkid 

In the years following the release of his sophomore album, ‘Ayo,’ Wizkid always talked about ‘Made In Lagos’ in mythical terms. Per the Surulere-raised star, it was meant to be THE album, and so listeners bought into its hype over and over with several release dates coming and going. 

When ‘Made In Lagos’ finally arrived in the wake of October 2020’s momentous #EndSARS protests, it worked its way into the soul of a broken nation begging for escapism and reprieve after a generational reckoning with state-sanctioned violence. Sonically, ‘Made In Lagos’ was the culmination of a tonal and melodic shift that Wizkid had been working his way towards since 2017’s ‘Sounds From The Other Side.’ 10 years after his breakthrough with “Holla At Your Boy,” Wizkid made another creative leap with ‘Made In Lagos,’ calmly sliding over luxuriant instrumentals crafted by P2J as he explored his fascination with love and romance run through a distinct Lagos filter across standouts like “Blessed,” “Piece of Me,” and the propulsive “Essence.” – Wale Oloworekende. 

‘Boy Alone’ – Omah Lay 

It’s not contentious to claim there are only a handful of Afropop albums that are as cohesive and conceptually well-executed as Omah Lay’s brilliant debut album. The melancholia, vulnerability, and expressive melodies that helped him construct his myth in the restrictive pandemic year are the same foundational pillars that hold this masterpiece together. It functions as both an autobiography and a confessional, where Omah Lay mines his complex emotional landscape to create dark, moody gems like “i’m a mess,” “temptations,” and standout hits like “soso” and “understand.” – Boluwatife Adeyemi.

‘Mr Money With The Vibe’ – Asake 

A breakout year that saw Asake almost single-handedly redefine the sound of Nigerian Pop music culminated in one of the best debut albums in history. Full of hits like the infectious “Terminator,” “Peace Be Unto You (PBUY),” “Joha,” and the spiritually resonant “Nzaza,” ‘Mr Money With The Vibe’ put on display Asake’s unparalleled ability to craft sing-along anthems that are rooted in the often frenetic, ethos of Lagos Street-Pop culture, yet possessing an undeniable, polished quality that gives them a global appeal. – B.A.

‘Carpe Diem’ – Olamide

When Olamide released ‘Carpe Diem’ in October 2020, it had been three years since his exhaustive last full-length effort, 2017’s ‘Lagos Nawa,’ which brought an end to a legendary run of album releases that started with 2011’s ‘Rapsodi.’ Coming off the back of that brief pause from releasing albums, there was anticipation for what would be the Afropop titan’s seventh album. There was little need to worry about Olamide being jaded on ‘Carpe Diem’ though; across the 12 tracks of the album, Olamide made a rapprochement with the then-future of Afropop, effortlessly embodying the essence of living in the moment without worry while charting a new course for his career. From the potent triad of “Infinity,” “Triumphant,” and “Loading” to the warm grooves of “Shilalo” and “Unconditionally,” ‘Carpe Diem’ was a reboot for the ages from one of Africa’s most celebrated music acts.  – W.O.

‘I Am The King Of Amapiano: Sweet & Dust’ – Kabza De Small

If there was ever any doubt about who Amapiano’s central brain trust was, Kabza De Small’s 2020 titanic double-disc classic, ‘I Am The King Of Amapiano: Sweet & Dust,’ was a definitive claim to leadership of the African Dance Music variant that he helped popularise. Arriving just a year after Amapiano emerged as a global force, ‘Sweet & Dust’ gave a glimpse into the full potential of the sound as both a hypnotic dancefloor summoner and an elegiac form of African sonic expression.

From “MaPiano Blues” to “Sam Sokolo,” Kabza’s instrumental-driven vision for the sound and his collaborative instincts emerge unencumbered, providing structure for all that the genre would aspire to in the years to come. There’s even space for a couple of Nigerian collabs, the pick of the bunch being “Sponono” which effectively set the stage for the Afropop-Dance hybrids that have taken over the continent throughout the 20202s. Across the three hours of ‘Sweet & Dust,’ Kabza was an inspired genius laying down the edicts for the genre he’s given his life to. – W.O.

‘HEIS’ – Rema

On HEIS, Rema burns down the prescribed Afropop playbook to build something far more exciting. The renegade superstar warps his strongest qualities into arguably his best project to date, which says a great deal given the supersonic pace at which he has been dropping bangers since his 2019 breakout. Richly textured and wildly imaginative, ‘HEIS’ is an interdimensional journey through a nebula of influences, from Amapiano and Indie-Alt to Mara, Northern Nigerian urban court music, Galala-esque drum patterns, and melodies from Kenyan Red Fourth Chorus. The Rave Lorde created an otherworldly layering of sound that pushes the familiar to the uncanny.

The project is loud, moves at full speed, and opts for disorientation at every turn. It administers an overdose of dopamine through punchy cuts like “March Am,” “Ozeba,” and “Azaman.” Here, Rema is at his most everything, particularly at his wittiest, firing off lines like “Oppenheimer, always dropping another banger” on the fiery opener, “March Am.” – Melony Akpoghene.

‘Twice As Tall’ – Burna Boy 

Burna Boy operates in a league of his own, and it vividly explains why he could platform his musical prowess while tincturing some of Africa’s best voices into an album that proudly portrays the everyday struggles and triumphs of a continent. From the very moment Pat Boon’s voice reverberated on the statement intro, “Level Up,”  and Yossou N’Dour’s golden vocals accentuated it, to the final moments of the self-adulatory “Bank On It,” the message was clear: Burna Boy had orchestrated an unbeatable classic with ‘Twice As Tall.’ – Michelle Ejiro. 

‘Roots’ – The Cavemen.  

In 2019, The Cavemen. assisted Lady Donli in putting together her colourful debut album ‘Enjoy Your Life,’ a critically-acclaimed body of work that quietly established the brother duo as extremely talented instrumentalists and producers. Their renown would, however, skyrocket the following year thanks to their refreshing debut album that would immediately position them as the torchbearers of the Highlife revival. They breathed new life into the classic West African genre, producing delightful music that retained much of Highlife’s traditional structures and rhythms while also imbuing it with modern sensibilities. – B.A.

‘Some Nights I Dream Of Doors’ – Obongjayar 

When Obongjayar makes music, he opens up new worlds of expression and being, and on ‘Some Night I Dream of Doors,’  he becomes the conduit between the supernatural and the physical. At least that is the sort of experience he intended for the 35-minute runtime of the project, played out over twelve mind-blowing tracks.

Swinging between elements of Neo-Soul, R&B, and Afropop, his remarkably sonorous voice melds seamlessly into the core of the deeply introspective “Wind Sailor” and  “I Wish It Was Me,” where he humanises the bitter-sweet contrast of envy and admiration like no other. While his vocals metamorphose on the assertive “Tinko Tinko,” and Punk-inspired “Message in a Hammer,” ‘Some Night I Dream of Doors’ broadens his range with an album that validates the transcendental emotions of ambition, anxiety, and desire that we confront in our daily lives. – M.E. 

‘For Broken Ears’- Tems

Throughout the seven tracks of this prophetic work, Tems is dogged and spiritually intuitive. She appears ready to move forward on her journey with or without us. It’s a brave work that finds her belting out her fears about the inescapable unbearableness of an unfulfilled self. She opens with “Interference,” a battle cry in which her voice pierces the air with meaning that leaves no room for negotiation. On “Higher,” she draws a circle in the dirt, daring the world to step across it, while dismantling the myth of the agreeable muse. 

Being Tems’ debut project, the extended play arrived like a deep breath of fresh air. It is a torrential work marked by emotional maturity and an unflinching inventory of struggle and self-discovery. So far, ‘For Broken Ears’ stands as the clearest manifestation of Tems’ gifts. – M.A.

‘VTTKC’ + TKC’ – Seyi Vibez WO

It’s not every day that you wake up with the world waiting on your next move. Still, in the wake of his successful November 2022 debut album, ‘Billion Dollar Baby,’ Seyi Vibez was instantly catapulted to the summit of Afropop, beginning a prolific streak that imprinted his Apala-influenced musical style on wider culture. Unfortunately for the rising singer, the crushing death of his mother and a sister followed early in 2023, necessitating a public retreat for months. 

When he returned with ‘Vibe Till Thy Kingdom Come’ in June 2023, few could have guessed that it was the opening salvo in a double album rollout that would be completed just 15 days later with the release of  ‘Thy Kingdom Come.’ Across the length of  ‘VTTKC’ and TKC,’ Vibez is supplicant and broggadicious in equal measure, examining the ephemerality of life, the perks of success, and the redemptive power of love in a creative landmark that saw him experiment with genres like Fuji, Highlife, Pop, and Soul without losing the characteristic edge that stood him while songs like “Dejavu” and “Karma” established his reputation as an urban philosopher.  – W.O.

‘Trouble In Paradise’ – Shekhinah

‘Trouble In Paradise’ evokes exactly the apprehension that its title suggests. The album is Shekhinah’s therapy couch, a space where she unspools her thoughts with disarming clarity. While her debut basked in the “rose gold” glow of new romance, this project confronts the reality of things falling apart. Its central metaphor rests on the slow accumulation of emotional sediment.

The atmospheric R&B that runs through the record creates room for lyrics that linger on loss, self-doubt, and the gradual rebuilding of self-worth. Shekhinah traces the emotional terrain of a relationship as it shifts from promise to disillusionment, observing how idealism cracks under pressure and questioning her own complicity in the fantasy. On songs such as “Tides” and “Fall Apart,” love is no longer buoyant but heavy, tugging at the ankles. There is no melodrama, only the dawning awareness that what once felt like destiny may have been just a projection. – M.A.

‘The Villain I Never Was’ – Black Sherif

In its best moments, ‘The Villain I Never Was’ is a dispatch from the edge of transformation. Blending Highlife with Drill, Black Sherif fine-tunes his ability to write full stories into single bars. He tells intense tales of street life, the dread of making nothing out of yourself, the paranoia that shadows upward mobility, and most strikingly, grief. 

There is a palpable sense of a young artist negotiating the psychic toll of fame in real time. Black Sherif doesn’t posture as a hero or martyr; in fact, he sounds wary of both roles. The album’s thematic pulse is an exploration of misunderstanding and self-perception; although he has often been cast as an antagonist in his own story, he pushes back against that framing. This friction—between how one is seen and how one feels—is the emotional backbone of the record. This work is a solid debut that amplified Black Sherif’s voice as a beacon of restless interiority within contemporary African Pop. – M.A.

‘Midnight Train’ – Sauti Sol

Sauti Sol’s ‘Midnight Train’ is far more than a showcase of stylistic range. It is a joyful celebration of life’s ups and downs, recorded with the kind of musical detail only a seasoned band can master. It moves from soulful acoustic tracks to big, danceable hits like “Suzanna,” all held together by the signature harmonies of the Kenyan kings of Afropop. They tackle topics like sobriety and marriage with a mature perspective that feels earned.

Warm and inviting, ‘Midnight Train’ plays like a homecoming shared among close friends. It is a feel-good record that honours their East African roots while extending its reach outward, reaffirming Sauti Sol’s place as a benchmark for contemporary African bands. – M.A.

‘Celia’ – Tiwa Savage 

Tiwa Savage’s third studio album, ‘Celia,’ was released in August 2020. While the album might have arrived in the thick of the pandemic, it didn’t harbour any of the restrictive mood or energy of that era. Instead, on ‘Celia,’ Tiwa luxuriates in her sexual impulses, driven in her pursuit of life, and unapologetic about her womanhood, producing what is arguably her strongest album to date. The album neatly fuses Afropop and R&B with subtle touches of Dancehall and Funk, while also showcasing a refined maturity in both her songwriting and vocal delivery. – B.A.

‘Afro Pop Vol 1.’- Adekunle Gold 

In the history of evolutions by Afropop artists, Adekunle Gold holds a compelling record for reinvention.  ‘Afro Pop, Vol. 1’ arrived on the back of a daring move to desert the familiar folk motifs that characterised his artistry on his previous albums, ’Gold’ and ‘About 30,’  and follow those enjoyable projects with an entirely Pop-focused outlook. Naming it after said genre was a bolder step, and true to its title, it housed one of Afropop’s most notable album intros on Nailah Blackman’s chanty feature, “AG Baby.”   Alongside multiple solo and collaborative Dance- inducing records, including the Patoranking-assisted dancehall banger, “Pretty Girl,” “Okay,” and “Something Different,” Afro Pop, Vol. 1’  remains a high watermark in Adekunle Gold’s oeuvre. – M.E.

‘The Angel You Don’t Know’ – Amaarae 

Not many debut albums can replicate the polychromatic brilliance of ‘THE ANGEL YOU DON’T KNOW.’  Amaarae’s eccentricity created a whole alternate universe with only one rule: Fuck it, this is me, and the world must comply. Through an immersive kaleidoscopic collision of Afropop and Dance, she blithely addresses identity on “FANCY,” introversion on “LEAVE ME ALONE,”  braggadocio on the cunty “TRUST FUND BABY,” and desire on “CELINE” and “FEEL A WAY.”  A quintessential gift, “SAD GIRLZ LUV MONEY,” scored renown a year after its release, giving rise to one of Afropop’s biggest cross-cultural hits, underscoring the fact that ‘THE ANGEL YOU DON’T KNOW’ is a worthy addition to the canon of great African albums. – M.E. 

‘Subaru Boys: FINAL HEAVEN’ – Cruel Santino 

In March 2022, Santi officially opened the gates to his fantastical, hyper-vivid Subaru World with the release of his official sophomore album, ‘Subaru Boys: FINAL HEAVEN.’ A sprawling, cinematic 21-track rollercoaster, the album is built on distinctive, hazy soundscapes courtesy of the Monster Boys, intriguing narrative arcs and Nigerian street culture. The result is an immersive, detailed experience that Santi has continued to build on even after the album’s release, with accompanying visuals, a manga and more content that solidifies his vision as an auteur. – B.A.

‘Palmwine Music 3’ – Show Dem Camp WO

Show Dem Camp really know how to rap, but just as importantly, they know how to curate moods and vibes without sacrificing their technical rigour, as shown across their ‘Palmwine Music’ albums. ‘Palmwine Music 3,’ the thrilling finale for the series, is a legitimate would-be classic that bears the mark of excellence and unrestrained imagination we’ve come to expect from a typical SDC album.

Billed as a thematic focus on love in Lagos, the album meanders between styles and radio skits with a sense of ease that’s only matched by the album’s grooviness. Whether it’s Oxlade laying claim to a lover on “Mine Alone,” or Mannywellz dropping an unforgettable hook on the steamy “Freaky,”‘Palmwine Music 3’ effectively functions as a map of romance in the 21st century and is an unmatchable high for Alternative Pop in the 2020s. – W.O.

‘19 & Dangerous’ – Ayra Starr 

While it was crystal clear that she would be unrivalled from the moment her first body of work graced Afropop’s scene, Ayra Starr’s debut album ‘19 & Dangerous,’  through a meticulous approach to identity, stamped the notion of her being a generational force. Mirroring the salient themes of youthful exuberance, she explored a novel approach to defiance on “Cast,” explored her long-intended relationship with fashion on “Fashion Killa,” and reclaimed herself on “Bloody Samaritan.”  No project by a burgeoning Afropop star has duly represented the angst of teenagehood, especially as a young girl learning the ropes of finding self as comprehensively as ‘19 & Dangerous.’  – M.E 

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