In 2018, Tems quit her corporate job to focus solely on what she calls her life's purpose: making music. And in the six years since, she's certainly proven that it's what she was born to do. 

The Nigerian artist's appeal was initially apparent in her home country after she released a string of singles in 2018 and 2019, but it quickly became clear that Tems was poised for global stardom. Just after the arrival of her debut EP, 2020's For Broken Ears, she teamed up with Wizkid for the Afrobeats smash "Essence," which showcased her signature ethereal melodies and introspective storytelling. She soon became a sought-after collaborator, being recruited for Drake's Certified Lover Boy, Beyoncé's Renaissance, and Future's I Never Liked You — the latter of which, a collaboration alongside Drake titled "Wait For U," won Tems her first GRAMMY in 2023.  

Along the way, Tems continued to shine as a star in her own right. After earning a record deal with RCA in 2021, she released her second EP, If Orange Was a Place, and notched hits on Billboard's Hot R&B Songs with "Free Mind" and "Not an Angel." And now, she's ready to continue her winning streak with her debut album, Born in the Wild.

There's a running theme that speaks to Tems' desire for success and meeting the moment across the album's 18 tracks, as evidenced by songs like "Wickedest," "Burning," "Ready," and the titular track. Elsewhere, "Me & U" speaks to inner peace and self-perception, while her latest single "Love Me JeJe" represents her Nigerian roots by interpolating Seyi Sodimu's 1997 hit of the same name. 

As a Lagos-born artist, Tems naturally leans into Afrobeats. But much like her previous EPs, Born in the Wild sees her melding a lot of genres like R&B and soul ("You in My Face") and even rap ("T-Unit"); she also welcomes a more stripped-down approach on standout tracks "Unfortunate" and "Boy O Boy." The album doesn't just show her versatility — it hints at an exciting career that's only getting started.

Ahead of Born in the Wild's release, Tems sat down with GRAMMY.com to discuss the inspiration behind her debut album, what she learned about herself during the creative process, and existing outside of the Afrobeats genre.

This interview has been condensed and edited for clarity.

Debut albums set the tone for an artist's entire career. What do you want to convey with Born in the Wild?

As humans, we are multidimensional beings. Born in the Wild is about embracing all of oneself. Thinking about when I decided to go into music up until this point, I had to figure out the best way to tell that story of the Nigerian girl that became this person called Tems. And that person was born in the wilderness. Yes, I was born in Africa, but the wilderness is more about the difficulties that I faced mentally and the jump from working a 9 to 5 to trying to sing when nobody believes in you and everybody laughs at you.

Born in the Wild is about survival; I was born in a survival state and raised to survive. Coming from that to now being someone who has the ability to dominate, the ability to overcome and to conquer — that's the story. That's my story.

Born in the Wild speaks to success and taking advantage of every opportunity that is presented to you. It sounds like you're documenting your journey in real time. Can you speak more to that?

I'm someone who doesn't like attention. Like, I could be in my room making my music for months, and I would not even fathom sharing my music. I'm such an introvert like that. I love my alone time. I do everything I can to make sure I can just go back into my cave.

"Ready" is about the moment that I decided I will no longer hide, I will no longer be in my comfort zone, I will no longer be silent. I recognize that what I need to do is bigger than me. It's not about what I like or what's comfortable for me. It's what needs to be done, you know? I cannot make art and just be enjoying my own art like that. 

I'm willing to overcome myself so that I can be the person that I'm meant to be, and I'm ready now to face whatever difficulty, whatever obstacle comes my way. Even if it makes me cry, even if it makes me angry, even if it makes me sad, I'm ready. I'll do it crying. I'll do it angry. I'm going to continue going forward. That's a decision I've made, and I haven't turned back since.

Do you feel like you're still in survival mode, or are you slowly coming out of that and now being able to somewhat relish in the success you've had?

I don't think after survival comes relish. I think after survival comes learning and unlearning. I think now I'm in a place where I can actually thrive. I can flourish and grow and blossom more into the person that I'm meant to be. I can take things and I can receive love easier. I can understand things better, because I'm not too busy trying to survive that I forget to actually learn the lessons that are meant to help me overcome the things that come my way. Life is always gonna be life, but then you develop a different type of strength when you're not in survival mode.

When did you know Born in the Wild was going to be a full-length album and not another EP? In a 2023 interview, you said you weren't sure which way it was going to go amid some of those early recording sessions.

I don't know the particular moment; I just woke up and realized that the things I've been working on are all seemingly coming together. I definitely was more intricate with each of the songs, more critical of the songs. I had to remove myself from them as if I wasn't making them. That way, I could see them objectively for what they were. 

In terms of the process of actually creating the music, it has not changed. I still kind of approach it like, I'm going to make music today. I don't know what's gonna happen today, but I hope it's something great.

Was there anything about the creative process that surprised you?

I've changed a lot from the person that started writing, like from the earliest song that was written until now. I literally learned how to trust the process. I used to say that all the time, but in my mind, I was like, I trust the process, I guess. I don't know what that is, but cool. I tried to rush it, but it just doesn't work out when you do, no matter what. 

So, I just did my best showing up every single day, taking it step by step, day by day. And that will frustrate you, but then I started learning to observe myself in frustration, like, Wow, okay. Why is this happening? Just allowing yourself to be is also part of trusting the process.

As Afrobeats continues to reach new heights, how can consumers and the industry do better at supporting African artists so they don't feel pigeonholed or confined to solely Afrobeats?

Every artist has the power and ability to define themselves. Every artist is in charge of how they view themselves. Some people call me R&B, some people call me alternative, some people call me Afrobeats. When I'm making music, I am not thinking, Oh, because I released 'Free Mind,' all my songs must sound like "Free Mind" or Because I did "Try Me Now," I have to stay there. Otherwise, who is going to consume my music?

I just kind of do my thing, which I feel every artist should do as well. They should go hard and stand for themselves, and define who they are for themselves, because the world can't define who you are in any sector. Nobody outside of you can define you. You define yourself, and the world acts accordingly. They respond to your definition.

What did winning your first GRAMMY in 2023 mean to you? And what do you hope that 2024 unlocks for you?

Winning a GRAMMY for me feels like, Wow, I'm being seen. I feel seen, and I feel acknowledged. I also feel hopeful for other African artists.

For 2024, I want to do my very best to present my art in the best way possible as I see the vision in my head. I'm not really thinking about what's gonna come from that, but I just know I want to really do something different with Born in the Wild. I'm really focused on doing that and having fun while I do that. It's gonna be incredible. I can't wait.

With Her Debut Album, Tyla Is Ready To Make Her Official Introduction: "It's Me In Music Form"

Earlier this year, the Recording Academy made history by awarding their first-ever GRAMMY Award for Best African Music Performance. Never before had the continent’s vibrant musical culture been given a category all their own, and the best and brightest from the African music industry stepped up to receive nominations. 

The eventual victor was 22-year-old South African singer Tyla, whose bewitching song "Water" earned the hearts of GRAMMYs voters, as well as millions of listeners that boosted the song to the Billboard Hot 100. She became the first South African in 55 years to make the chart.

Read more: 10 African GRAMMY Winners Through The Years: From Miriam Makeba To Angélique Kidjo & Burna Boy

This year, Tyla will not defend her prize. But five fantastic songs from a multitude of artists, including one high-profile American that has joined up with two Afrobeats stars, will compete for the Golden Gramophone. Check out the nominees below and read the full 2025 GRAMMYs nominations list ahead of Music's Biggest Night on Sunday, Feb. 2, 2025.

One of African pop music’ biggest stars, Yemi Alade would be a legend even without a GRAMMY nod. She first rose to fame a decade ago thanks to continental hits like "Johnny" and "Oh My Gosh" with Rick Ross. In July, she took her sound to new heights on Rebel Queen, an album incorporating genres such as highlife and dancehall for a global celebration of Black music that solidifies her reputation as "Mama Africa." 

"Tomorrow," the GRAMMY-nominated song from the album, is a triumphant, bright amapiano tune, the latest result of Alade’s flirtation with the genre. Produced by Yasso and incorporating choral vocals, the lyrics in English and Nigerian Pidgin assert the singer’s unflappable confidence and self-belief. "I dance away my sorrow," she sings, "Rain or shine, I’ll be shining like a diamond." 

"Tomorrow" marks the legendary artist’s first-ever GRAMMY nomination, but whether or not she grabs the golden gramophone, it’s clear from her song that nothing will phase this Rebel Queen. 

Burna Boy is such an undisputed force in African music, it’s not surprising for him to be nominated in this Category two years in a row. Already a GRAMMY winner for Best Global Music Album (Twice As Tall took the prize in 2021), his bold, American R&B-inspired "City Boys" earned a Best African Music Performance nod last year and was among a medley of tracks Burna performed on the GRAMMY stage. The braggadocious hip-hop song ultimately fell to Tyla’s "Water," however. 

The success of his 2023 album I Told Them may have put Burna Boy in a more contemplative state of mind, because "Higher," his current nominated track, is a much more conscious effort. Over a mellow, amapiano-inspired beat from producer Yo Dibs, Burna reflects on his limited time on Earth and the harshness of daily life: "You know say streets don't love you rara / It's full of snakes and spiders / Make a wrong move, lose your life / Make it hard for your mother to sleep at night." 

The song’s video, conceptually similar to Drake’s visual for "God’s Plan," shows the singer making an emotional visit to his hometown of Port Harcourt and distributing aid with his charity group Project PROTECT. It seems that magnanimity has already been rewarded: The song gained 1.3 million streams on Spotify in its first day of release, a new record for an African artist, and its video has been viewed over 7.3 million times as of this writing. 

It can’t be denied that Chris Brown is something of a survivor in the music industry. The GRAMMY winner for Best R&B Album (F.A.M.E.) is as famous for his hits — from "Run It!" and "Kiss Kiss," to "Look at Me Now" and "No Guidance" — as he is infamous for his checkered past. 

Now he’s back in the GRAMMY spotlight with a single from his 2023 album 11:11. "Sensational" marks a bold stylistic pivot for the R&B singer as he adopts Afrobeats for a slick song that could be called, well, "breezy." Adding some African bona-fides, he’s recruited Davido — one of the genre’s most important acts and a GRAMMY nominee last year in this Category — as well as rising artist Lojay, for feature verses. The result is a transatlantic collab that makes the case that Americans can take on African genres too, with a little help from their continental friends. 

In just a few short years, Asake has established himself as one of the most creative and charismatic new talents in Afrobeats. His 2023 record Work of Art blended the globally-aspirational Nigerian pop sound with South African house offshoot amapiano and the indigenous Yoruba genre fújì; Asake earned a GRAMMY nod in this category for album single "Amapiano" last year. 

Asake isn’t one to rest on his laurels, however. He dropped another record, Lungu Boy, earlier in 2024, for which he switched up his sound further and recruited global stars like Stormzy, Central Cee, and Travis Scott. Single "MMS" keeps things refreshingly local in terms of guest spots, recruiting GRAMMY-winner Wizkid for the feature. Incorporating the same Yoruba-language choral vocals Asake used throughout his last album, he trades verses with Wiz over a glamorous, jazz-inflected, ‘90s R&B-inspired beat by P.Priime. The lyrics, in English, Yoruba, and Nigerian Pidgin, narrate Asake’s journey to finding his signature sound and letting fate determine his path. It’s a classy, reflective song from a pair of Africa’s biggest stars.

Tems — "Love Me JeJe"

Tems is already a GRAMMY winner and the first African artist to top the Billboard Hot 100, all thanks Future sampling her song "Higher" on his hit "Wait For U." Yet 2024 was the year in which the Nigerian artist stepped into her own spotlight, finally releasing her debut album Born in the Wild. Its single "Love Me JeJe" hit No. 1 on the UK Afrobeats charts and No. 3 on Billboard’s U.S. Afrobeats Songs. 

Interpolating an identically-titled 1997 hit from Seyi Sodimu that’s regarded as an African pop classic, "Love Me JeJe" is an Afrobeats tune as tender as the Pidgin phrase that makes up its title. Tems’ smooth, heartfelt vocals float over the track as she sings of her desire for unconditional, supportive love: "I need your lovin’, so fresh, so clean / Love me in and out, unfailingly / And I’ll be down now, anytime you call me." 

Debuting the song during her set at Coachella 2024, it could be argued that "Love Me JeJe" was meant to provide American audiences with a bridge to African music, from its past icons to its present talents. With her GRAMMY nod for the song, it seems that Tems has done just that.

As October rolls in, the GRAMMY Museum in Los Angeles and New York City is set to host an exciting lineup of live discussions and performances. This month’s programming features a diverse array of artists, including Kacey Musgraves, Khalid, Tems, Samara Joy, and Shelby Lynne, along with icons like Slash and Laurie Anderson.

Whether you're a fan of soulful jazz, indie pop, or rock legends, these events offer an intimate look into the creative processes of some of the industry's most compelling artists. From Travis Barker to Will Smith, the GRAMMY Museum continues to be a hub for music lovers to experience one-of-a-kind performances and discussions with their favorite artists.

Check out the comprehensive list of must-attend GRAMMY Museum public programs for October 2024:

The Drop: Shelby Lynne

Oct. 1, 2024 from 7:30 to 9 p.m.

L.A.

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Shelby Lynne joins guests at the Museum’s intimate 200-seat Clive Davis Theater for an evening discussing her latest music, her career, and creative process, with a performance to follow.

Inside Deeper Well: An Evening with Kacey Musgraves

Oct. 2, 2024 from 7:30 to 9 p.m.

L.A.

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The GRAMMY Museum is thrilled to welcome seven-time GRAMMY-winning artist Kacey Musgraves to the Museum’s Ray Charles Rooftop Terrace for an evening discussing her latest album, Deeper Well, and her creative process and career, with a performance to follow. The discussion will be moderated by Melena Ryzik. Attendees will also have an opportunity to enjoy rooftop views and a cash bar prior to the program.  

Read more: Why 2024 Is The Year Women In Country Music Will Finally Have Their Moment

An Evening With Will Smith

Oct. 3, 2024 from 7:30 to 9 p.m.

L.A.

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The GRAMMY Museum is thrilled to welcome 4-time GRAMMY-winning artist Will Smith to the Museum’s Ray Charles Rooftop Terrace for an evening discussing his upcoming music, creative process, and legendary career, with a performance to follow. Attendees will also have an opportunity to enjoy the rooftop and a cash bar prior to the program.  

An Evening With Slash & Mike Clink

Oct. 4, 2024 from 7 to 8:30 p.m.

L.A.

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Slash, the iconic, GRAMMY-winning, Rock and Roll Hall of Fame inductee, guitarist, and songwriter will join guests at the Museum’s Ray Charles Rooftop Terrace for an evening discussing his latest album Orgy of the Damned, a star-studded, vibrant homage to the blues. GRAMMY Hall of Fame Producer and longtime Slash collaborator Mike Clink will join the conversation to discuss the creative process for the album, and an intimate acoustic performance will follow. Attendees can enjoy rooftop views and a cash bar prior to the program.   

A New York Evening With Arooj Aftab

Oct. 4, 2024 from 7:30 to 9 p.m.

N.Y.C.

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Arooj Aftab joins GRAMMY Museum guests at The Greene Space in NYC to celebrate her latest album, Night Reign. Aftab will detail her creative process and more in discussion with Jem Aswad, with a special performance to follow. 

Watch: Run The World: How Pakistani Singer Arooj Aftab Reimagined Genre & Made GRAMMY History

Spotlight: Jessica Pratt

Oct. 8, 2024 from 7:30 to 9 p.m.

L.A.

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Jessica Pratt joins guests at the Museum’s intimate 200-seat Clive Davis Theater for an evening celebrating her career and discussing her latest album, Here in the Pitch, creative process, and more, with a performance to follow.

A New York Evening With Samara Joy

Oct. 8, 2024 from 7:30 to 9 p.m.

N.Y.C.

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The GRAMMY Museum is thrilled to welcome three-time GRAMMY-winning artist Samara Joy to The Greene Space in NYC to celebrate her latest album, Portrait, her creative process and more. Joy will be in discussion with the author and music journalist Marcus J. Moore, with a special performance to follow.

Read more: Samara Joy Won Best New Artist At The 2023 GRAMMYs. What Could It Mean For The Wider Jazz Community?

Spotlight: Tems

Oct. 9, 2024 from 7:30 to 9 p.m.

L.A.

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Nigeria-based singer/songwriter, and producer Tems will join guests at the Museum’s intimate 200-seat Clive Davis Theater for an evening moderated by Billboard’s Gail Mitchell. Tems will discuss her debut album, Born in the Wild, her career, and creative process. A performance will follow her talk.

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

A New York Evening With Ben Platt

Oct. 10, 2024 from 7:30 to 9 p.m.

N.Y.C.

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Ben Platt joins GRAMMY Museum guests at National Sawdust in Brooklyn to talk about his album Honeymind, his creative process behind the project, his career, and more, with a special performance to follow.  Platt is one of the many artists to be featured in the GRAMMY Museum’s New York City program series, which includes bringing a slate of the GRAMMY Museum’s renowned GRAMMY In The Schools Education Programs and Public Programs to the East Coast. "A New York Evening With" is generously supported by the Dawn and Brian Hoesterey Family Foundation.  

Read more: Inside Ben Platt's 'Honeymind': How Queer Love, Live Performance & More Led To His Most Authentic Album Yet

A Conversation With Deryck Whibley of Sum 41

Oct. 10, 2024 from 7:30 to 9 p.m.

L.A.

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The GRAMMY Museum is thrilled to welcome Deryck Whibley of Sum 41 to the Clive Davis Theater for an evening of conversation discussing the stories behind his memoir, Walking Disaster" the creative process behind writing the book, and more with Matt Pinfield. Tickets to this event include admission and a signed copy of the memoir.

Read more: Sum 41 Says Farewell: Deryck Whibley Shares His Favorite Memories With The Pop-Punk Icons

Sensory Friendly Saturdays

Oct. 12, 2024 from 9 to 11 a.m.

L.A.

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Experience Sensory Friendly Saturday on the second Saturday of every month. Families can enjoy our space with less crowding, quieter sound levels and lower lighting on the second Saturday of every month from 9 a.m. to 11 a.m. Guests can purchase tickets when they arrive at the Museum or they can purchase online for the applicable Saturday.

Reel to Reel: Billy Preston: That’s the Way God Planned It

Oct.13, 2024 from 3 to 5 p.m.

L.A.

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The GRAMMY Museum is thrilled to host the Los Angeles premiere of Billy Preston: That’s the Way God Planned It in the Museum’s Clive Davis Theater. There will be a post-screening panel discussion featuring Director Paris Barclay, artist Cory Henry and Producers Stephanie Allain and Jeanne Elfant Festa. 

Spotlight: Khalid

Oct. 14, 2024 from 7:30 to 9 p.m.

L.A.

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Khalid joins guests at the Museum’s Clive Davis Theater for an evening celebrating his latest release, Sincere, in discussion about his career and creative process, with a performance to follow.

Spotlight: FLETCHER

Oct. 14, 2024 from 7:30 to 9 p.m.

L.A.

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FLETCHER joins guests at the Museum’s intimate 200-seat Clive Davis Theater for an evening celebrating her latest sophomore album, In Search Of The Antidote, her creative process, and more, with a performance to follow.

Read more: FLETCHER Is "F—ing Unhinged" & Proud Of It On 'In Search Of The Antidote'

A New York Evening With Laurie Anderson

Oct. 16, 2024 from 7:30 to 9 p.m.

N.Y.C.

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Laurie Anderson joins GRAMMY Museum guests for an intimate conversation moderated by Anderson Cooper about her latest album, Amelia, with a performance to follow, at City Winery in New York City. Anderson is one of the many artists to be featured in the GRAMMY Museum’s New York City program series, which includes bringing a slate of the GRAMMY Museum’s renowned GRAMMY In The Schools Education Programs and Public Programs to the East Coast. "A New York Evening With…" is generously supported by the Dawn and Brian Hoesterey Family Foundation. 

A Conversation With Travis Barker

Oct. 16, 2024 from 7:30 to 9 p.m.

L.A.

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Iconic drummer and producer Travis Barker joins guests at the Museum’s intimate 200-seat Clive Davis Theater for an evening celebrating and discussing his career, latest music with blink-182 and others and a conversation about creative process, and more.

Read more: Blink-182 Essentials: 15 Songs That Prove They're Rock's Most Serious Unserious Band

The Drop: Pete Yorn

(Moderated By Matt Pinfield)

Oct. 17, 2024 from 7:30 to 9 p.m.

L.A.

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Pete Yorn joins guests at the Museum’s Clive Davis Theater for an evening celebrating his career and discussing his latest album, The Hard Way, his creative process, and more, with a performance to follow.

An Evening With Vampire Weekend

Oct. 21, 2024 from 7:30 to 9 p.m.

L.A.

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Vampire Weekend will be in discussion at the Museum’s Clive Davis Theater to celebrate their latest album, Only God Was Above Us. Band members will also discuss their creative process, tour, and more, with a performance to follow.

A New York Evening With Dave Alvin & Jimmie Dale Gilmore

Oct. 22, 2024 from 7:30 to 9 p.m.

N.Y.C.

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In partnership with Americana Music Association, the GRAMMY Museum will host an intimate conversation with GRAMMY Award-winning artist Dave Alvin and GRAMMY Award-nominated artist Jimmie Dale Gilmore followed by a performance at The Greene Space at WNYC and WQXR in New York City. The conversation will include a discussion moderated by Warren Zane about the making of their new album, TexiCali, their collaboration, creative process, and more. 

A New York Evening With Kelsea Ballerini

Oct. 25, 2024 from 8 to 9 p.m.

N.Y.C.

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The GRAMMY Museum and Collective by 92NY will host four-time GRAMMY nominee Kelsea Ballerini for an intimate conversation about her album, Patterns, her creative process, and more, followed by a special performance at The 92nd Street Y: David Geffen Stage at Kaufman Concert Hall.

Kelsea Ballerini is one of the many artists to be featured in the GRAMMY Museum’s New York City program series, which includes bringing a slate of the GRAMMY Museum’s renowned GRAMMY In The Schools Education Programs and Public Programs to the East Coast.

Film Screening – A Wu-Tang Experience: Live at Red Rocks Amphitheater

Oct. 26, 2024 from 4 p.m. to 7 p.m.

L.A.

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The GRAMMY Museum is thrilled to present a special screening of A Wu-Tang Experience: Live at Red Rocks Amphitheatre in the Museum’s Clive Davis Theater, followed by a discussion with the film’s directors, legendary Wu-Tang Clan Founder RZA and Gerald K. Barclay (Gee-Bee), and moderated by Raqiyah Mays. The post-screening discussion will also spotlight RZA’s new classical music album, A Ballet Through Mud.

This free program will be hosted by Schyler O’Neal, Senior Manager of Education & Community Engagement at the GRAMMY Museum, and is presented in partnership with the Hip-Hop Education Center.

Reel To Reel: Ryuichi Sakamoto | Opus

Oct. 28, 2024 at 7 p.m. to 9 p.m.

L.A.

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The GRAMMY Museum is thrilled to host a special screening of Ryuichi Sakamoto | Opus and a panel discussion about the legacy of Sakamoto with award-winning musician Flying Lotus and award-winning director Barry Jenkins.

The Drop: Andy Grammer

Oct. 30, 2024 at 7:30 p.m. to 9 p.m.

L.A.

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The GRAMMY Museum is thrilled to welcome award-winning artist Andy Grammer to the Museum’s intimate 200-seat Clive Davis Theater for an evening celebrating his latest album, Monster, with a discussion about his creative process behind the project and a performance.

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. 

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.

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.

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.

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.

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.

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.