With Afro Nation Puerto Rico around the corner on March 18-21 (and a second Afro Nation Portugal in July), the fast-growing new music festival is bringing its vibrant energy to the U.S. for the first time. The first-ever American iteration of the fest—taking place beachside at San Juan's Balneario de Carolina—will be the third event in total since its launch last summer.

Nigerian superstar singers Burna Boy and WizKid, American rap kings Fabolous and Rick Ross, Jamaican reggae act Chronixx, Nigerian Afropop songstress Yemi Alade and Trinidadian soca hero Machel Montano are among the headliners for this month's event. Those are just a few of the names within the epic lineup, which has been rolled out in waves over the past four months.

Each Afro Nation fest highlights the biggest players—and up-and-comers—in Afro-fusion, reggae, dancehall, hip-hop, soca and other black-led musical movements. As cofounders SMADE and Obi Asika share, the idea for the event came from what they saw as a lack of representation in the event space for Afrobeats artists they worked with.

We caught up with the two Nigerian-born, London-based music industry powerhouses over the phone recently to discuss their groundbreaking Afro Nation movement. Read on to learn about the story behind this successful partnership, how they're learning as they go, their hopes and vision for the future and more.

The next Afro Nation fest is coming up soon, the first-ever Puerto Rican event. What are you most looking forward to with this one?

SMADE: We're on our third edition now. The first one was in Portugal in August, and then we've just finished the second one in Ghana in December. We're moving on to Puerto Rico next month, which I'm excited about. I'm looking forward to enjoying the beautiful sandy beaches in San Juan and having fun, as we always do. I'm also looking forward to seeing people from different races and cultures coming together to celebrate African music and seeing the unity that Afro Nation brings to people.

Obi: SMADE and I are both Nigerian, so obviously we do these events to give a platform to artists from the African diaspora. We've done Portugal and it was a lot of the European diaspora. Then, we've done Ghana which is more like the brand coming home. But for me, I'm really looking forward to seeing America because we sold so many tickets to Americans interested in the brand, the music and culture, and the diaspora there.

Also, Puerto Rico is a really interesting place because it's America, but it's also the Caribbean. I can't wait to see how people are going to vibe there and what's going to happen. Every festival we've done so far in different places, they all have their own feel. I think that this is going to be a really interesting one. We've literally got people coming from every part of America. I think it's going to be super interesting and really cool.

Wave 1: Afro Nation Puerto Rico: Patrice Roberts, Beenie Man, 2Baba, Afro B & More

You've been announcing the Puerto Rico lineup in several waves, and it just keeps getting better! How did you choose who to work with?

Obi: When we kick off the lineup, SMADE and I always have a chat and go, "What do we think? Who do we think our crowd's going to be? What are they going to want to see and be interested in?" One of the reasons why we don't announce everything at the beginning is that we want to read the crowd. We read a lot of the messages, we get a lot of the DMs, have all our team telling us what they hear and we do adapt things on the fly. We say, "Okay, let's add that."

These events are something that haven't been done before. We have such a complex and layered culture in terms of from the east, to the south, to the west of Africa, and obviously all the diaspora as well. SMADE and I were saying, we need to go and do a trip to Angola and go and hang there, understand what's going on, so we can understand what the Portuguese side is at.

SMADE: Also, we research and see the best acts to be on the stage. The platform is a huge one. Our stage is one of the biggest stages in the world for the acts, to be honest. What we try to do is research, look out for people that deserve to be on that stage, both from Africa and the diaspora and everywhere really. There's so much talent.

Obi: It is a bit of a voyage of discovery for us. There's so much talent and we want to include everyone, and we want to include everyone for each destination, but it's a process even for us. We are constantly learning about new music and new artists. One thing that we're very fortunate in what we're doing right now is that there's just so much talent. It's a constantly evolving process.

Our crowd is very active on social media. You have some people like, "Why can't we have this person?" and it's always the same names. But we try and give other people opportunities. SMADE and I were laughing the other day because we can't wait to see a performance, I won't say who it is. We wanted to put these two acts together because when we know when they get on the stage, it's just going to be crazy and make new fans. They might be overlooked on social media, but we know that they will be one of the highlights. We try not to make it about booking the same people at every show. We really want to give a focus for everyone. Particularly in Puerto Rico, we are going to add some local acts but expect that year two, there'll be even more local acts.

It's funny, year one of Portugal, everyone was like, "All you guys are about is West Africa." We are West African, so we're understanding things as we go along. SMADE and I spent a lot of time in France this year, because a lot of French people are coming to our show and we didn't even push it for France that much. It was organic. Then we had a couple of shows in France. It was crazy. We realized the market is massive. So, we were like, "We've got to include more French acts next year."

Sometimes we need to push our customers to new things. You don't have to worry about maybe someone doesn't speak the language, because with music you can feel it. When people are on stage, even if they're singing in Spanish or Portuguese or French, we don't actually see an issue in mixing everything up. It can be quite powerful. It's not a worry for us if we think it breaks those barriers.

Watch: Burna Boy Talks 'African Giant,' Damian Marley & Angelique Kidjo Collab, Responsibility As A Global Artist

It sounds like it really keeps growing naturally as you meet more people and explore different scenes. Do you have any plans or ideas for future locations this year or next?

Obi: Yeah, it does. We've already confirmed another location for this year that will be announced in another month or so. We want to always let people focus on what's next. Right now it's Puerto Rico and Portugal, but yeah, we've got another really great location.

SMADE & Obi onstage at Afro Nation | Photo Courtesy of Afro Nation

Looking back a bit, can you tell me a little more about what inspired you to start Afro Nation together?

SMADE: I think Obi and I, we noticed a lack of representation of our acts. We know how talented they are and how much work they put into their music, but we weren't seeing them on the big stages. So Obi and I came together and we were like, we're just going to do it ourselves. We didn't even think it was going to be this big.

Obi: It's exactly what SMADE said. I'm a talent agent and he is a promoter. One of the things you do as a talent agent is headline shows in order to get your artists on big stages at the festivals. We struck up a partnership quite quickly, because SMADE is incredible. He was selling tickets for Afrobeats where all the big promoters weren't able to do it. We both obviously had a passion for this music, this genre, the culture because of our background. We struck up a partnership and we started having real successes, selling big tickets in London.

It wasn't really translating to the major festivals booking the acts. They wouldn't give them what we perceived as the respect they deserved, and I know a lot of these guys, they're my friends. It was like, "Obi, man, we just got our heads around hip-hop a few years ago, and now you're telling us to put these Afrobeats acts and give them serious, high up billing? We started off as a rock festival." They were also like, all those Afrobeats fans, they won't come to the festivals. They don't buy tickets. Everyone said it's not possible and I was like, how can we be selling out the O2 Arena with WizKid or SMADE selling them out with Davido, and then you're telling me that they can't play this?

"At our events, all the fans are very passionate. It's more than just going to a festival. I feel like it's the pride in their heritage and their culture and in their identity." - Obi Asika

We were just like, "Look, we're just going to do ourselves." And when we did it, it just felt—we weren't expecting it. We just wanted to prove a point, and within 24 hours, all the tickets were gone. People decided to buy a flight, buy a hotel, buy the ticket and go to another country, all for their love of Afrobeats. That's not small, it's a real commitment. I think that's why at our events, all the fans are very passionate. It's more than just going to a festival. I feel like it's the pride in their heritage and their culture and in their identity. It's driven us to keep going. We're having so much fun with it.

It's a very unique situation. Our people are everywhere in every part of the globe and the fans are everywhere. The biggest thing is if you just went on the norms of our industry of music and you say, "Oh, this person isn't on the charts or that person isn't signed to that label," but Afrobeats doesn't actually move to that. One of the things, obviously the success of Wizkid, Burna Boy and Davido, all the younger guys coming through is now shining a light on that in the records world. In the live music world, I think Afro Nation has shocked a lot of people that this crowd will buy tickets in advance and [pauses] I don't know many festivals that most of the crowd are female. In Portugal, we had 85 percent female.

The crowd at Afro Nation Portugal 2019 | Photo Courtesy of Afro Nation

That's so cool.

Obi: I tell you, they are really amazing. Watching, I felt, "This is girl power going on." It was crazy. We'd never seen anything like it. It's a very powerful statement. It was a very unique festival. [Afro Nation] is such a positive event and is very special to us. We're very proud of it.

When you think of Afro Nation, what song comes to mind?

SMADE: For me, it's Fela [Kuti], any sound that comes from the legend Fela. Because a lot of these new acts now and the ones that have done great, from Wizkid to Davido to Yemi Alade to Burna Boy, when you see them on stage, that right there, for me, is Fela. That reminds me of Afro Nation. It's not just in West Africa alone. If you look at the highlife artists or the dancehall artists in Ghana, Shatta Wale, Stonebwoy, the way they present their performances and all the stuff that they do on stage just reminds me of Fela.

From your perspective, what you think real diversity and inclusion looks like in the music event space?

SMADE: Honestly with this, it's hard to define because everyone's got a different perspective of what equality looks like. However, right now in the music industry, I think we are heading in the right direction although we still have a long way to go. There needs to be more recognition of all types of genres.

That's the beauty of Afro Nation. Even though the most [focus is on] Afrobeats and African music and the culture, we also infuse the Jamaican acts. Like in Portugal, we had Busy Signal, Buju Banton. And there's the different genres, there's your Afroswing, soca, bashment, reggae, and then Afrobeats. There's also hip-hop. We bring everybody together as one on our stages. We had acts from the U.S., the U.K. and then also from the Caribbean and Africa. Bringing them all together to celebrate the African culture and music in Portugal was a great experience and feeling. The way everybody just connected, I felt like it was part of it.

Obi: I really agree with what SMADE said. To be honest with you, as we said before, it's ever-evolving. As an event and as a brand, we are constantly learning about new genres and what different parts of the world are listening to. It's just about trying to push the envelope. There's a lot of people involved in Afro Nation, from all different parts of the world, putting the show together. We're a very diverse brand and company, but we're always trying to do more. We all have to strive to include everyone and just give everyone an opportunity to do their thing. I think we're a very diverse event. I don't think there's many events that have French, Portuguese, Spanish and English speaking artists.

At our first couple of events, we were very aware that we didn't have enough female acts. There's a lot more female acts for Puerto Rico, and that is something that we have to check ourselves on a little bit to make sure. You just can't be lazy with it. Sometimes, you have to just take your time and find new acts. Maybe if your first choice wasn't available, take a risk on a younger act or newer act. It's important.

Read: Beyonce Shares Epic Track List For 'The Lion King: The Gift:' JAY-Z, Kendrick Lamar, Mr. Eazi, Shatta Wale & Many More

What is your biggest hope, for the next five or so years, in connecting the African diaspora through music and entertainment?

SMADE: My biggest hope is to connect and to use this platform to unify not only the Africans in the diaspora but also for other races as well to also experience and know the African culture. I'll give you an example. We just finished Afro Nation Ghana, and we had people from different races and different culture come down to Ghana. We had [Jamaican act] Popcaan buy a house in Ghana, and shown interest in Africa. We have people that never ever thought they would be in Africa celebrating, leaving their homes, or coming with their families to celebrate in Africa during the festive period.

Obi: Yeah, you were right, SMADE. It was crazy, wasn't it? We'd see the tickets sales and be, "Russia?" Russia, Australia, Ukraine…

SMADE: Right. It was amazing. This is what Afro Nation is doing. This can bring unity amongst everyone, every one of us. I hope the generation coming behind can also be inspired by the growth of the industry, and we can have many more superstar talent like Wizkid, Davido, Burna Boy, Tiwa Savage, Yemi Alade. And even the French-speaking and the Portuguese—there's Afro Portuguese now. From Afro Nation Portugal there are people trying to connect with the [Portuguese] culture, people going back home to check their DNA and all that stuff. This is what we're doing. This is what Afro Nation stands for, unifying.

Obi: I know for me, to be honest with you, I've got two real hopes. I want more, like SMADE's saying, of all these young artists coming through. I just want them to get through and become superstars, so we can have more headliners to keep pushing the industry forward. Now, in Europe anyway, every festival is booking Afrobeats, so half of our job's done. We want to see more commercial festivals booking Afrobeats. Those like Coachella, Reading and Leeds, Lollapalooza, we want to see them booking these acts. That helps the whole machine of it.

We got Ghana done and we're very proud of all we achieved because it's very difficult, as there's no infrastructure of the industry. Ghana is an amazing place. A lot of things work in Ghana like the roads, the airport. It's a safe place, it's super cool, but the entertainment industry, they've got lots of artists but there's no festival. You can't just call up someone and say, "Oh yeah, bring me this fence in and bring me this sound." It was really tough and we really put ourselves on the line because it's very expensive doing these events. But, we came through it, we produced something that we're proud of but we want to build it. We want to help keep building the African entertainment industry, because there's so much potential, there's so many acts.

Burna Boy Announces 2020 'Twice As Tall' World Tour

It takes a lot of guts to declare yourself the "King of Afro-pop," but Tekno has the hits to back it up. 

The Nigerian artist is a staple of the country’s Afrobeats scene, responsible for massive hits such as "Pana" (over 66 million Spotify streams). He’s collaborated with massive artists across the world, starting in 2012 when he enlisted Davido for his breakout single "Holiday." He’s also entered the studio with the likes of Drake and Swae Lee, and Billie Eilish is a professed fan.  

Despite this, Tekno hasn’t quite reached the levels of fame that colleagues WizKid and Burna Boy have stateside, but that may be about to change. He’s touring extensively across the U.S. this summer as part of his Back Outside Tour, supporting his 2023 album The More The Better. Tekno also recently inaugurated a label partnership with Mr. Eazi-owned emPawa Africa, defecting from SoundCloud.  

The video for his latest single, "Wayo," features the artist as a cab driver going through relationship problems. It's a perfect example of Tekno’s classic pan-African pop, with romantic lyrics and a sweetly melodic sound.  

GRAMMY.com caught up with Tekno ahead of his tour, which kicks off June 22 in Columbus, Ohio, to chat about his new music, career goals, and a surprising video game obsession.

You recently released a new single. Tell us a little bit about "Wayo?"

"Wayo" is basically me just tapping into my roots sound, the original pan-African Tekno sound. Our music has morphed and just grown into so many different sounds over the years. And it's very easy to forget that this sound existed before all this music that's playing right now. So I had to deep dive into that. That's basically how I describe "Wayo," I call it a basic Tekno love song. Like it's basically how I started really.  

I don’t know if you’re aware that there’s an entire genre of music called "Techno?"  

Yes, yes, it’s close to house music.  

They’re pretty close. Actually, techno music was invented here in America by Black musicians in Detroit.  

Oh, wow. Yeah, people don’t really listen to the techno genre out here yet. They prefer more melodic and groovy music. 

So in that case, I did want to ask you about your artist name. Because if people don’t really listen to techno music in Africa, where did your name come from?  

I was much younger, and I was looking for a name while I was in church. I’m a Christian, so I was looking for a name that had some form of Christianity to it, even though I knew I wanted to be a secular artist. And then I found this name, "tekno," and it's Hebrew, it means something like "God's people" or "God's word." It's spelt a little bit differently, I can't really remember. But I just liked the meaning of it, and the name stuck with me. And that's how I started calling myself "Tekno."  

You've declared yourself the "King of Afro-Pop." Why do you consider yourself to be the king of Afro-pop, and why that instead of the King of Afrobeats or another label like that? 

It's more of a personal thing in a way. My favorite artist of all time, forever, will always be Michael Jackson. And Michael Jackson is the King of Pop. So when I named myself the "King of Afro-Pop," it’s because I like Michael Jackson, but it's also because I'm the king of Afro-f—ing-pop. So the name just kind of has a good ring to it.

I want to talk a little bit about partnering with Mr. Eazi; why did you decide to join EmPawa? What do you think the partnership holds for your future, and for the future of music in Africa? 

I just love making music so much, that's the goal for me. And I've gone from camp to camp, level to level, and after a while it just starts to wear on you. I don't want to just keep moving from Triple MG to Universal to SoundCloud; I want my own thing that’s a little more permanent. And Eazi is not just my friend, he's my brother. We've been talking about this for years, about doing business together.  

There are reasons why it made so much sense for us to come together, but I don't want to share everything. But I like being a priority. If I'm on SoundCloud, I don't want to be on a list of 27 artists where I'm maybe number 18 and my music doesn't get the focus it needs. Like, say I put out a song, and everyone on SoundCloud has gone on holiday. And I'm not aware because I'm Nigerian, I don't know that this day or that day is a holiday in the States. But working with a brother and a team that is home, where we know the system and we understand the culture, it's just way, way better. Because we know ourselves, we know our culture. So working with a brother that has this amazing setup at EmPawa, it just made so much sense.  

Read more: Mr. Eazi’s Gallery: How The Afrobeats Star Brought His Long-Awaited Album To Life With African Art 

You've collaborated with some American artists before, and Billie Eilish said she is a big fan of yours. Is there anyone in the U.S.-UK ecosystem that you would consider a dream collaboration? 

I’d definitely love to work with Billie Eilish. 100 percent. But Drake would always be my favorite collaboration, just because we've been in the studio together. We've talked about it. You know, if I start something I want to see it finished.  

He's just an inspiration to the business. Drake, he makes you know that you gotta work, because as big as Drake is he works harder than everybody else. That’s not to say that I wouldn’t love to collaborate with so many other artists whose music I really love.

Are you following the beef between Drake and Kendrick at all?

That was so good, man. I didn't consider that a beef, because when I would watch boxers in the ring fight, let’s say I'm watching Mayweather vs. Pacquiao, it doesn't matter who I'm a fan of. It doesn't matter who wins, I'm entertained.

As a big fan of music, I enjoyed every Drake song and I enjoyed every single Kendrick Lamar song. But if you ask me who I prefer, I would always pick sides and choose. But was I entertained? I definitely was, for sure. 

How is working with Americans different from working with Africans?  What are the distinctions you find between the two? 

Back in Nigeria we don't work in big studios, we work at home. Like, if I want to work with Wizkid I would probably go to his house, or he would come to mine, and we would make music there. But if I'm going to work with Travis Scott, we're gonna go to the studio. If I'm working with Billie Eilish we're gonna go to the studio. 

You’re touring North America this year. Do you have any expectations, or anything you’re looking forward to?  

I'm just happy to be back outside. I went through this period where I had lost my voice in 2019. And after that happened, and I went through surgery in New York, Corona[virus] happened right after.

And in this whole period, I kind of just stayed away from how much I worked and how much I put out music in the past. I feel like I got used to not being active, so I haven't necessarily been performing for a while. That’s why this tour in the U.S. is called The Back Outside Tour.  Because for a long time I haven't been outside, I haven’t been performing, I’ve just been at home.

I like to game [and] I like to make music. I make so much music, but I feel like being home has kind of restricted the amount of music I put out. Because anytime I’m outside, I just get this feeling like I want to conquer the world, I want to do more; I want to put out more.

I want to do more than I've done in the past. So this tour for me is just getting back outside, just getting myself out there and just being on the road heavy. You get lazy if you stay home for too long; we’re habitual creatures. So now I have the mindset that I have to forcefully keep myself out there and just be outside. I'm gonna be touring for three months in the U.S. That's a long time.

You mentioned you’re a gamer. What have you been playing recently? 

Recently I've been on "GTA V"; the online is extremely good. Just because it has this plethora of radio stations where while you're gaming you can still bask in this vast playlist. And it’s just fun because you get to play with people around the world. I [also] have this Nigerian community I play with. It's like a way to just be around the people even though I'm in the house, so it's really lovely. And "Call of Duty" is a great one too. But my all time favorite I would say is "Elden Ring." I got locked into Elden Ring for like eight weeks. 

Amapiano has really become the dominant sound coming out of Africa in recent years. What do you think will be next? 

Tekno sound! They miss it! My sound is like "Game of Thrones," season one to seven. 

Not season eight. 

Not season eight. I didn’t say that, you said that! [Laughs.] 

Basically, I’m not saying amapiano isn’t beautiful music, I’m not saying Nigerians haven’t found a way to evolve it in a way that’s different from the South African type. The South African sound will always be the original one, and every time you record on a South African amapiano beat, you can just tell the difference in the sound. It’s their culture, they own it. 

But we [Nigerians] are extremely good at taking your sound and putting our own flavor on it. It’s still your sound, but we play with it. So I feel like it’s been two years of the same [amapiano] and after a while people are gonna want another type of song. I’m not saying Amapiano will go away all of a sudden, it’ll never go away. But people want that pan-African sound. The local rhythm. And Tekno got that.  

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

Can you go into detail? How do you describe this pan-African sound?  

These are songs that always tell a story, it’s never just random. "Wayo" is talking about, "If I invest in my love, would I get a return?" "I no come do wayo" means I'm not trying to play games. I'm serious. If I invest in this love, would I get it back? This thing we call love? Do you truly believe in it? Or you're just with me for the sake of dating somebody?  

This type of music always has a deep rooted message in the melodies; it's not just like a regular party thing. There's always a good tale behind the sweet melodies. So like, no, no matter how new school our music goes, this type of sound would always be this type of sound. You're not taking it where. It’s culture. 

The video for "Wayo" shows you driving a cab. Did you ever have to hold down a day job like that before you became a successful musician?  

Oh my god. I've been a houseboy. I catered for four little kids. They were so stubborn, man, that was the hardest thing I've done in my life. [Laughs.] That would have to be a different interview. I've worked in churches, too. I grew up from a very humble background and I'm grateful to God that I experienced that. 

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

The result of audacious experimentation by studio musicians and producers, reggae originated  in Jamaica circa 1968 in Kingston, Jamaica. Along with its various subgenres of lovers rock, roots, dub and dancehall, reggae has influenced many music forms and found adoring audiences all over the world.

An authentic expression of the singers and musicians’ surroundings and experiences, reggae evolved from its 1960s forerunners, ska and rocksteady, shaped by contemporary influences such as American jazz and R&B, and mento, Jamaican folk music. Likewise, today’s reggae music makers draw from genres such as hip-hop (especially its trap strain) to create a generationally distinctive sound that still remains tethered to Jamaica's musical history.  

In the 2020s, the Best Reggae Album GRAMMY winners reflect the diverse musical palette that comprises contemporary reggae. EDM influences and reggaeton (a genre built upon digitized dancehall reggae riddims) remixes dominate the 2024 winner Julian Marley and Antaeus' Colors of Royal. The award’s 2023 recipient — Kabaka Pyramid's The Kalling, produced by Damian and Stephen Marley — intertwines traditional roots reggae with Kabaka’s love of hip-hop. The late, great Toots Hibbert was posthumously awarded the 2021 GRAMMY for Time Tough, a hard rocking, R&B influenced gem that captured Toots’ soulful exuberance. In 2020 Koffee became the youngest and first female awardee in the category for Rapture, which features the most experimental soundscapes among this decade’s winners. Ironically, the most traditional approach to reggae is heard on American reggae band SOJA’s 2022 winner, Beauty in the Silence.

Read more: Lighters Up! 10 Essential Reggae Hip-Hop Fusions

In honor of Caribbean American Heritage Month, which was officially designated by a Presidential proclamation in June 2006, here are 10 Jamaican artists who are shaping contemporary reggae. Some are veterans who are currently hitting the greatest strides of their professional lives, others are newcomers at the threshold of extremely promising careers. All are committed to their craft and upholding reggae, even if their music ocassionally sounds unlike the reggae of a generation ago.

In the mid 2010s, Jamaican band Raging Fyah had a significant impact on the American reggae circuit, with their burnished, inspirational roots reggae brand as heard on such songs as "Nah Look Back" and "Judgement Day." They toured the U.S. with American reggae outfits including Stick Figure, Iration and Tribal Seeds, and supported Ali Campbell’s version of UB40 in the UK. Raging Fyah’s album Everlasting was nominated for a 2017 Best Reggae Album GRAMMY.

The following year, charismatic lead singer and principal songwriter Kumar Bent (along with guitarist Courtland "Gizmo" White, who passed away in 2023) left due to differences with their bandmates.

In 2023 Kumar teamed up with Raging Fyah alumni, drummer Anthony Watson, keyboardist Demar Gayle and backing vocalist/engineer Mahlon Moving to create The Original Fyah. In February they performed at the band’s annual Wickie Wackie festival in Jamaica and they’ve recorded an album due for upcoming release (Demar has since moved on to other projects.)

Kumar, 35, a classically trained pianist, has recorded two solo albums, including Tales of Reality with Swiss studio band 18th Parallel; they’ll tour Europe together in October. Kumar’s acoustic guitar sets have opened several dates for stalwart Jamaican band Third World this year.

Each of his musical endeavors are focused on bolstering Jamaica’s signature rhythm.

"Reggae from the 1970s and ‘80s was special because Jamaican artists made the songs exactly how they felt, and found an audience with the sounds they created," Kumar tells GRAMMY.com. "If we (Jamaicans) keep making R&B, hip-hop sounding music, we are giving away what we have for something else that we are not as good at."

Lila Iké's multifarious influences run deep. "I am a Jamaican artist who is influenced by different music and you’re going to hear that coming through," she said in a June 2020 interview with The Daily Beast, following the release of her debut EP The ExPerience. 

While Jamaican music expanded beyond what Iké called "the purist reggae vibe," she told The Daily Beast that "it’s important to maintain the music’s indigenousness. I incorporate that into the rhythms I use and my singing style because I want young people to know, this music doesn’t start where you hear it, it has transcended many years and changes." 

Born Alecia Grey, she chose the name Lila, which means blooming flower, and Iké, a Yoruba word meaning the Power of God. Her vocals are a singular, mesmerizing blend of smoky, soulful expressions with a laid back yet poignant rendering. Lila’s effortless versatility is rooted in her upbringing in the rural community of Christiana. Her mother listened to a wide range of music, R&B, jazz, soul, country and reggae, with Lila, her mom and sisters singing along to all of it. 

Lila moved to Kingston to pursue her musical ambitions; she performed on open mic nights and posted her songs on social media. Protoje reached out to her via Twitter with an invitation to record. From that initial meeting, Protoje has managed and mentored her career. Through his label In.Digg,Nation Collective’s deal with RCA Records, Lila will release her debut album later this year; Protoje also produced the album’s first single, the reggae/R&B slow jam duet "He Loves Us Both" featuring H.E.R.

A passionate singer whose vocals marry the grit of Otis Redding with the cool of Marvin Gaye, singer/songwriter and musician Hezron has yet to achieve the widespread impact his talents merit, although he's been planting seeds since 2010. That year, his single "So In Love" was the first of Hezron's substantial musical fruits and exceptional catalog.

On his 2022 self-produced, remarkable album Man on a Mission, Hezron explores a range of Jamaican music and history. On the rousing ska track "Plant A Seed," Hezron's guttural, gospel inflected delivery is reminiscent of Toots Hibbert as he warns his critics, "You think you bury me and done but you only planted a seed." The album also features a scorching R&B jam "Tik Tok I’m Coming"; an acoustic, mystical acknowledgement of Rastafari, "Walk In Love and Light"; and a stirring plea to "Save The Children." The album’s title track is a spirited reggae anthem offering support to anyone in pursuit of their goals while underscoring Hezron’s own purpose.

"Man on a Mission is about my personal journey, the obstacles I’ve had to overcome in the music business and beyond. I’m telling myself, telling the world, this man is on a mission to restore Jamaican music to a prominent place internationally," Hezron tells GRAMMY.com. 

In November 2023 Hezron embarked on a global mission: a two-month tour of Ghana, followed, this year, by summer shows in Canada and the U.S. before returning to Africa, with dates in Ivory Coast, Kenya, and South Africa.

A self-taught multi-instrumentalist, songwriter and vocalist, Iotosh (born Iotosh Poyser) made his name as a producer who can seamlessly blend disparate influences into progressive reggae soundscapes. He’s produced singles for several marquee acts who emerged from Jamaica’s reggae revival movement of the previous decade including Koffee’s "West Indies," the title track on Jah9’s Note to Self featuring Chronixx, and Jesse Royal’s "Rich Forever", featuring Vybz Kartel. He also produced five of the 10 tracks on Protoje’s GRAMMY-nominated album Third Time’s The Charm.

Iotosh’s parents (Canadian music TV journalist Michele Geister and Jamaican singer/songwriter/producer Ragnam Poyser) came from different musical worlds, so he heard a multiplicity of genres growing up, including hip-hop, rock, funk, soul, reggae and R&B. Iotosh wanted to replicate all of those sounds when he started making music, which led to his genre blurring approach. 

As an artist, his 2023 breakout single the meditative "Fill My Cup" (featuring Protoje on the remix) was followed this year by "Bad News," which explores grief that follows losing a loved one, both on one-drop reggae rhythms. He describes his debut eight-track EP, due in September, as "a mix of traditional reggae and elements of contemporary music, pop, hip-hop and R&B." 

"In my productions, I try to have some identifiable Jamaican aspects, usually the bassline, which I play live," Iotosh tells GRAMMY.com. "Reggae is based on a universal message, it’s peace and love but contextually it comes from a place of enlightening people about forces of oppression. If that message is in the music, it’s still reggae, no matter what it sounds like." 

Iotosh will make his New York City debut on July 7 at Federation Sound’s 25th Anniversary show, Coney Island Amphitheater.

Read more: Meet The First-Time GRAMMY Nominee: Kabaka Pyramid On Embracing His Voice & The Bold Future Of Reggae

Producer Winta James first heard Mortimer while working on sing-jay Protoje’s acclaimed 2015 album Ancient Future, and decided he was the right singer to provide the evocative hook on the opening track, "Protection." About a year after they recorded the song, Mortimer became the first artist Winta signed to his company Overstand Entertainment.

In 2019 Mortimer (born Mortimer McPherson) released his impressive EP, Fight the Fight;  single "Lightning," was especially noteworthy for its roots-meets-lovers rock sound anchored in a heavy bass and delicately embellished with a steel guitar. Mortimer’s sublime high register vocals express a refreshingly vulnerable perspective: "Girl, my love grows stronger each day, baby please don't hurt me just because you know I'll forgive." 

"The songs that get me the most are coming from a place deep within," Mortimer told me in a January 2020 interview. "I started out writing what I thought was expected of me as a Rasta, militant, social commentaries, but it was missing something. Before I am a Rastaman, I am a human being, so I dig deep, expressing my feelings simply, truthfully."

Mortimer’s debut album is due in September and his latest single, "Not A Day Goes By," addresses his struggles with depression: "I’ve given up 1000 times, I’ve even tried to take my own life," he sings in a haunting tone. Mental health struggles remain a taboo topic in reggae and popular music overall; Mortimer’s raw, confessional lyrics demonstrate his courageousness as an artist, and that bravery will hopefully inspire others going through similar struggles to speak out and get the help they need.

Earlier this year, Hector "Roots" Lewis made his acting debut in the biopic Bob Marley: One Love, earning enthusiastic reviews for his portrayal of the late Carlton "Carly" Barrett, the longstanding, influential drummer with Bob Marley and The Wailers.  Formerly the percussionist and backing vocalist with Chronixx’s band Zinc Fence Redemption, Hector is blazing his own trail as a vocalist, songwriter and musician. 

The son of the late Jamaican lover’s rock and gospel singer Barbara Jones, Hector’s profound love for music began as a child. In 2021, Chronixx launched his Soul Circle Music label with Hector’s single "Ups and Downs," an energetic funky romp that’s a testament to music’s healing powers.  The song’s lyric "never disrespect cuz mama set a foundation" directly references Hector’s mother as the primary motivating force for his musical pursuits. 

In 2022 Hector toured the U.S. as the lead singer with California reggae band Tribal Seeds (when lead singer Steven Jacobo took a hiatus) taking his dynamic instrumental and vocal abilities to a wider audience. The same year, Hector released his five-track debut EP, D’Rootsman, which includes regal, soulful reggae ("King Said"), 1990s dancehall flavor ("Nuh Betta Than Yard") and R&B accented jams "Good Connection." 

Co-produced with Johnny Cosmic, Hector’s latest single "Possibility" boasts an irresistible bass heavy reggae groove. On his Instagram page, Hector dedicates "Possibility" to people who are facing the terrors of "warfare, colonialism, depression and oppression," urging them to "believe in the "Possibility" that they can be free from that suffering." 

Read more: 7 Things We Learned Watching 'Bob Marley: One Love' 

The daughter of Albert "Ilawi Malawi" Johnson, musician and legendary selector with Jah Love sound system, Hempress Sativa was raised in a Rastafarian household where music played an essential role in their lives. Performing since her early teens, she developed an impressive lyrical prowess and an exceptional vocal flow, effortlessly switching between singing and deejaying. 

Consistently bringing a positive Rasta woman vibration to each track she touches, Hempress Sativa’s most recent album Chakra is a sophisticated mix of reggae rhythms, Afrobeats ("Take Me Home," featuring Kelissa), neo-soul ("The Best") and cavernous echo and reverb dub effects ("Sound the Trumpet"), a call to action for spiritual warriors. On "Top Rank Queens" Hempress Sativa trades verses with veterans Sister Nancy and Sister Carol, each celebrating their deeply held values and formidable mic skills as Rastafari female deejays. 

Hempress Sativa is featured in the documentary Bam Bam The Sister Nancy Story, (which premiered at the Tribeca Festival on June 7) recounting the legendary toaster’s influence on her own artistry. Speaking specifically about Sister Carol, Hempress tells GRAMMY.com, "She is my mentor and to see her, as a Rastafari woman from back in the 1970s, maintain her standards and principles, gives me the confidence moving forward that I, too, can find a space within this industry where I can wholeheartedly be myself."

Learn more: The Women Essential To Reggae And Dancehall

One of the most popular reggae songs of the 2000s was Tarrus Riley’s dulcet lover’s rock tribute to women "She’s Royal." Released in 2006 and included on his acclaimed album Parables, "She’s Royal" catapulted Tarrus to reggae stardom; the song’s video has surpassed 114 million YouTube views.

Tarrus has maintained a steady output of hit singles, while his live performances with the Blak Soil Band, led by saxophonist Dean Fraser, have established a gold standard for live reggae in this generation. Tarrus’s expressive, dynamic tenor is adaptable to numerous styles, from the stunning soft rocker "Jah Will", to the thunderous percussion driven celebration of African identity, "Shaka Zulu Pickney" and the EDM power ballad "Powerful," a U.S. certified gold single produced by Major Lazer, featuring Ellie Goulding. 

His 2014 album Love Situation offered a gorgeous tribute to Jamaica’s rocksteady era (during which time his father, the late Jimmy Riley, started out as a singer in the harmony group the Sensations). Tarrus’s most recent album 2020’s Healing, includes meditative reggae ("Family Tree"), trap dancehall with Teejay referencing racial and political sparring on "Babylon Warfare," and the pop dancehall flavored hit "Lighter" featuring Shenseea (the song’s video has surpassed 102 million views). 

Healing’s title track ponders what the new normal will be like, "without a simple hug, so tight and warm and snug/what will this new life be like, without a simple kiss, Jah knows I'd hate to miss."

Recorded and released at the height of the pandemic, Healing is deserving much greater recognition for its luminous production (by Tarrus, Dean Fraser and Shane Brown) brilliant musicianship, nuanced songwriting and forthright expression of the myriad, conflicting emotions many underwent during the lockdowns.

Samory I is among the most compelling Jamaican voices of this generation, whose mesmeric tone is both a guttural cry and a clarion call to collective mobilization. Born Samory Tour Frazer (after Samory Touré, who resisted French colonial rule in 19th century west Africa), Samory I released his critically acclaimed debut album, Black Gold, in 2017.  

His latest release Strength is produced by Winta James, and was the only reggae title included on Rolling Stone’s Best 100 albums of 2023. The modern roots reggae masterpiece features the affirming "Crown," on which Samory commands, "I stand my ground, I will not crumble/I keep my crown here in this jungle."  Mortimer is featured on "History of Violence," which details the generational trauma that plagues ghetto residents over a classic soul-reggae riddim. "Blood in the Streets" is a blistering roots reggae anthem, an anguished exploration of the conditions that have led to the violence: "Shame to say the system that should be protecting Is still the reason we suffer/The perpetrators blame the victims, do they even listen? Can they hear us from the gutter?" 

Despite the societal and personal suffering that’s conveyed ("My Son" bemoans the death of Samory’s firstborn), Samory I offers "Jah Love" urging the wronged and the wrongdoers to ‘Show no hate, hold no grudge, seek Jah love," It’s an inspirational conclusion to Strength, rooted in Rastafari’s deeply meshed mysticism and militancy.

There’s a scene in the video for Romain Virgo’s 2024 hit "Been there Before" where he sits alone in an  empty room cradling a gold object with three shooting stars; those familiar Romain’s career beginnings will recognize it as the trophy the then 17-year-old won in the Jamaica’s talent contest Digicel Rising Stars, in 2007. "Been There Before" is a compelling sketch of Romain’s life’s struggles, yearning for something better, as set to a throbbing bassline: "To be someone was my heart’s desire/so me never stop send up prayer," he sings in a melancholy, quavering tone.

Growing up poor in St. Ann, Jamaica, the trophy represents the contest victory that changed Romain’s life. One of the Rising Star prizes was a recording contract with Greensleeves/VP Records. On March 1, Romain released his fourth album for VP The Gentleman, one of 2024’s finest reggae releases, evidencing Romain’s increasing sophistication as a writer and nuanced vocalist.

Throughout his career Romain has vacillated between romantic lover’s rock stylings ("Stars Across The Sky"), reggae covers of pop hits (Sam Smith’s "Stay With Me") that are so good, you’ll likely forget the originals, and organic, tightly knitted collabs including the aforementioned "Been There Before" featuring Masicka, all of which has created Romain’s large, loyal fan base and a hectic international performance schedule.

Yet, Romain’s greatest success might be maintaining the wholesome, humble personality that captivated Jamaican audiences when he won Rising Stars 17 years ago. "People have seen me grow in front of their eyes," Romain tells GRAMMY.com. "I enjoy singing positive music, knowing my songs won’t negatively impact kids. Being a husband and father now comes with much more responsibility in holding on to those values, it feels like a transition from a gentle boy into a gentleman." 

Remembering Coxsone Dodd: 10 Essential Productions From The Architect Of Jamaican Music

Those pre-summer Fridays just keep rolling on. With each release day, the music community fills our hard drives, playlists and record shelves with more aural goodness.

Granted, to wrangle it all in one place is impossible — but GRAMMY.com can provide a healthy cross-section of what's out there. From here, venture forth into new releases by Luke Combs (Fathers & Sons), Normani (Dopamine), Moneybagg Yo (Speak Now), Jelly Roll ("I Am Not Okay"), and more.

For now, here are nine new songs or albums to explore.

After previously released single "Please Don't Fall in Love With Me," Khalid is back with another luminous ode to romantic disconnection, where he calls for healing amid broken ties.

"Thousand miles apart and you're still in my heart/ Can we take it back?" Khalid pleads in the hook. "I'm waiting at the start/ Fly me to the moon and now I'm seeing stars when we touch."

Khalid hasn't released a full-length album since 2019's Free Spirit. But he's been teasing a new project for a minute: two weeks ago, he shared an Instagram carousel with the caption "5 years later. Here we go again." And the yearning "Adore U" certainly sets the tone for what's to come in Khalid's world.

TWICE's NAYEON is shifting gears towards her highly anticipated solo comeback with the release of NA, a project that spans pop, dance, and more. The follow-up to her debut solo album, 2022's IM NAYEON, NA provides a glimpse into the TWICE member's transition from being daunted by a solo career to finding comfort in the act.

One highlight is the shimmering "Butterflies," which NAYEON described to Rolling Stone as "one of my favorite songs" yet "one of the harder ones to record, actually." Another is the brassy "Magic," which she calls "a very self-confident song." All in all, NA winningly cements NAYEON's identity — irrespective of her main gig.

In light of its 25-year anniversary, Mariah Carey revisits her iconic 1999 album, Rainbow, which featured collaborations with fellow household names like Jay-Z, USHER, and Missy Elliott. The new anniversary edition boasts a plethora of remastered and remixed tracks — a treasure trove for Carey acolytes.

One new track is "Rainbow's End," produced by David Morales; Carey described it as "a hopeful ending to an emotional roller-coaster ride." Elsewhere, there's "There For Me," a love letter to her fans that didn't make the album; a new remix of "How Much" by Jermaine Dupri, and some intriguing live recordings and a cappella tracks.

Since at least their debut album, 2018's I Want to Die in New Orleans, rap duo $UICIDEBOY$ have expertly cataloged the bugs beneath the rock of the human experience: addiction, depression, the whole nine yards. New World Depression is a further distillation of their beautifully filthy aesthetic and worldview.

In highlights like "Misery in Waking Hours" and "Transgressions," MCs $crim and Ruby da Cherry's chroniclings of misery are barer than ever: "Hurts too much to give a f— / Demoralized, always lying, telling people I'll be fine," they rap. Who hasn't felt like this, at one point or another?

At 82, Velvet Underground violist, multi-instrumentalist and co-founder John Cale is still a tinkerer, a ponderer, an artist in flux rather than stasis. In 2023, when GRAMMY.com asked when he felt he came into his own as an improviser, he immediately replied "Last year."

That interview was centered around that year's solo album, Mercy, another gem in a solo discography full of them. Now, he's already back with a follow-up, POPtical Illusion.

While POPtical Illusion maintains its predecessors' foreboding, topical nature — and then some — tracks like "Laughing in My Sleep" and "Funkball the Brewster" couch these morose topics in a more playful, irreverent aural palette.

The Twisters soundtrack continues to be a whirlwind of great tunes. The latest dispatch is Tanner Adell's "Too Easy," a country-pop dance floor banger — its video even featuring a performance by dance troupe the PBR Nashville Buckle Bunnies.

"Too Easy" is the fourth song to be released from the Twisters soundtrack, following Tucker Wetmore's "Already Had It," Megan Moroney's "Never Left Me," Bailey Zimmerman's "Hell or High Water," and Luke Combs' "Ain't No Love in Oklahoma." The full album — which features a hoard of country stars, including Lainey Wilson, Thomas Rhett, Tyler Childers and more — will be available on July 19 when the movie hits theaters.

We've clearly caught Ghanian Afropop star Stonebwoy in a jubilant mood. In a teaser for his new song, "Your Body," the singer born Livingstone Satekia undulates on a saturated, red-and-blue backdrop, foreshadowing the sticky summer days we'll spend jamming the tune.

And the full song certainly doesn't disappoint. Interweaving strains of pop, R&B and reggae, with Stonebwoy deftly switching between singing and rapping, "Your Body" will get your body moving.

Rapper Toosii last teased his upcoming eighth mixtape, JADED, with "Suffice," its lead single released back in November. In the interim, he's been "locked in perfecting a new look a new sound new everything!" as he shared in an Instagram reel. "I just hope you're ready," he added with star and smile emojis.

Said teaser pointed toward a melancholic, weighty ballad, which ended up being the next release from JADED, "Where You Been." Riding a multidimensional, brain-flipping beat, the song is an immersive, thoughtful banger not to be missed.

The latest Star Wars show on Disney+, "The Acolyte," is getting rave reviews — and three-time GRAMMY winner Victoria Monét is now part of its musical universe. She's contributed an original song, "Power of Two," to the end credits of the Lucasfilm series.

Over an ethereal, melancholic beat, the lyrics detail emotions ripe for either terra firma or a galaxy far, far away: "You thought your soul was a necklace/ That you could wear and take off/ That you could rip and break off/ That you could trade in the dark/ But you're mine."

Bring these killer tunes straight into your weekend — and keep checking GRAMMY.com for more brand-new New Music Friday lists!

Victoria Monét's Evolution: How The "On My Mama" Singer Transitioned From Hit Songwriter To Best New Artist Nominee

Music is a cosmopolitan darling. In a world that speaks the language of travel and tourism, generations of sounds meet, influencing each other in a continuous exchange.

When seventeen African countries gained independence from colonial forces in 1960, the culture and entertainment landscape transformed significantly over the next four decades. Genres like highlife, jùjú, ethio-jazz, Raï, Congolese rumba, marabi, and fuji — which reigned before the '60s — gave way to hybrids such as Afrobeat and Afrorock in the late '60s and early '70s. These new styles blended American funk, jazz, rock and psychedelic elements into distinctly African creations.

In Zambia, Zamrock exploded on the music scene in the early '70s as a political statement, influenced by the heavy rock of Jimi Hendrix and smooth funk of James Brown. Bands like WITCH and Paul Ngozi embraced Western sounds while staying true to their roots by singing in Bemba and Nyanja accordingly.

In Nigeria, rock cults like the Fractions, War-Head Constriction, The Hykkers, Ofo and the Black Company, Ofege, The Lijadu Sisters, and BLO emerged in the wee hours of the Nigerian Civil War, swinging their electric guitars and mixing indigenous material with their newfound sounds. When the Nigeria-Biafran War became full-blown, some of these bands were employed to perform by the army, while some laid low in hotels, singing to anyone who cared to listen.

But while Afrobeat, pioneered by multi-instrumentalist Fela Kuti, has gained global recognition and acclaim over the decades as the continent's signature sound, Afrorock has not enjoyed the same achievement. In celebration of the diverse music coming from Africa, here are some classic songs that have defined the Afrorock style over the years.

Monomono — "Kenimania" (1972)

Monomono (Yoruba for "lightning") was one of the first Afrorock bands to emerge from Nigeria. Led by Joni Haastrup on vocals and keyboard, Babá Ken Okulolo on bass and Danjuma "Jimi Lee'' Adamu on the guitars, the group was influenced largely by British rock and Fela Kuti (the album cover literally offers "thanks to brother Fela, for the little hint that did a good job.") 

"Kenimania" appeared as a pure instrumental on their popular 1972 LP Give The Beggar A Chance, and vibrates with polyrhythmic drums, and a strained sax riff over a recurring "Hey!" on the track. 

BLO — "Chant to Mother Earth" (1973)

The Nigerian trio BLO, short for Berkeley Ike Jones, Laolu Akins Akintobi and Odumosu Gbenga Mike, is often hailed as "the first psych-rock band" from Africa and creators of Nigeria's inaugural psychedelic rock record. What sets BLO apart is their unique sound,  which combines a Hendrix-esque rock style with a sleepy, nostalgic texture. 

One of their standout tracks, "Chant to Mother Earth" from their 1973 album Chapter One, encapsulates this blend. It's a spiritual and earthy ballad that serves both as a song and an invocation, and it remains one of the trio's enduring hits.

Edzayawa — "Darkness" (1973)

The Ghanaian band Edzawaya developed a distinctive sound rooted in a 6/8 rhythm and heavily influenced by the music of the Ewe people from southeastern Ghana and western Togo, according to Soundway Records. Their only album, Projection One — delivered in 1973 — features "Darkness," a track that blends funk rock with deep percussive elements, part of their unique style. After recording this album under the guidance of Nigerian music legend Fela Kuti and producer Odium Iruoje in Lagos, the band quickly rose to prominence before disbanding in 1975.  

War-Head Constriction — "Graceful Bird" (1973)

"Graceful Bird" is a powerful single by the Nigerian band War-Head Constriction, featuring members Etim Bassey, Femi Lasode, and Martin Amenechi. Formed during the Nigerian Civil War, their music captures the intense period of their emergence. 

Released under Afrodisia as a single, the track is known for its heavy metal influences, characterized by "long, snarling guitar solos and piles of distortion" according to Pitchfork. The lyrics are a testimony to the harsh turmoil of war and loss. "You just laughed when you saw us cry / Coming to do the slaying / Women fall from grace to grass / Now it's your turn to fade / No, no, no, no, no, no, no, no, no."

The Funkees — "Breakthrough" (1974)

If BLO pioneered Afrorock, The Funkees evolved it, embedding the spirit of their era in their lyrics. Their upbeat music, particularly popular among the rebellious Biafran youth during the Nigerian Civil War, broke through national borders and resonated with the diaspora. "Breakthrough" from their 1974 album Slipping Into Darkness, is a lyrical exploration of mental liberation. The song's influence continues to echo in modern music, with samples by Kendrick Lamar in "Worldwide Steppers" (2022) and Madlib in "Brothers and Sisters" (2010) cementing its status as a significant work.

Akofa Akoussah — "La Lem" (1976)

In 1966, Julie Akofa Akoussah gained significant exposure on the Togolese music scene when she shared the stage with her compatriot Bella Bellow at the first Negro Arts Festival in Dakar, Senegal.

A decade later, her 1976 eponymous album, Akofa Akoussah, transcended both musical genres and national boundaries. Her music captivated audiences in Ghana and Benin and caught the attention of renowned artists such as Miriam Makeba, Manu Dibango, and Aycha Koné. "La Lem", a standout track from the album, features a haunting guitar intro that persists throughout the song, complementing its deeply soulful lyrics. 

The Lijadu Sisters — "Life's Gone Down Low" (1976)

Growing up in Ibadan, Nigeria in the '50s, Taiwo and Kehinde Lijadu listened to a lot of records from Elvis Presley, The Beatles, Cliff Richard and Ella Fitzgerald. Far from limiting themselves to a particular style, the duo also drew influences from western jazz, rock, funk and soul, crafting a diverse and experimental sound. 

"Life's Gone Down Low" from their Danger album, is a testament to this eclectic style. The song, which gained popular recognition due to an uncredited sample by the rapper Nas on "Life's Gone Low", features an insistent electric guitar hovering over the chorus "Life's gone down / Down / Down / Down / Down."

Amanaz — "Khala My Friend" (1975)

Amanaz, an acronym for Ask Me About Nice Artistes In Zambia, were a force to reckon with in the Zamrock scene of Zambia. Formed in Kitwe in 1973, the five-piece band featured the compelling vocals of lead singer Keith Kabwe and the acid guitars of John Kanyepa and Isaac Mpofu. 

The track "Khala My Friend," from the 1975 album Africa, remains a staple in bars and outdoor events across Zambia today. A fusion of rock, funk, and traditional Zambian music, the song is an expression of camaraderie and longing. It has not only become a definitive record of the Zamrock subgenre, but has also gained worldwide acclaim from music critics and enthusiasts alike.

Fadoul — "Bsslama Hbibti" ('70s)

Fadoul, a Moroccan three-piece band, gained notoriety when "Bsslama Hbibti'' was  featured in the first compilation by German record label Habibi Funk, which showcased funk, soul and jazz tracks from the 1970s across Sudan, Libya, Morocco and Egypt. While the exact year this gem was recorded is debatable, "Bsslama Hbibti'' is a vibrant mix of funk with some shiny elements of rock that features raw drum beats, fierce guitar riffs, and Fadoul's intense, impassioned lyrics. 

Tinariwen — "Matadjem Yinmixan" (2007)

Malian band Tinariwen has become a cornerstone of desert rock, earning a GRAMMY for Best World Music in 2012 and influencing bands including Kel Assouf and Imarhan. Becoming the Fela Kuti of their genre, their music resonates with a distinctive, gritty essence.  

"Matadjem Yinmixan" ("Why All This Hate Between You?") from their 2007 album Cler Achel, offers pointed criticism of the terrorist groups in the Sahara region which have even captured the band's own members. On the track, the electric chomp of the guitar intertwines with a buoyant beat as a chorus of voices heightens the lyrical tension.

Vaudou Game feat. Roger Damawuzan — "Pas Contente" (2014)

Vaudou Game is the collaboration of Togolese singer and guitarist Peter Solo and a quintet of instrumentalists from Lyon, France. Their well-known hit "Pas Contente" ("I'm Not Happy") has been touted as a funk ballad, it stands out for its dreamy psychedelic rock guitar echoing throughout the track.

Baba Commandant and The Mandingo Band — "Wasso" (2015)

From Burkina Faso, Baba Commandant and The Mandingo Band is led by Mamadou Sanou, an activist that bridges traditional Manding music with modern Burkinabe funk.

Influenced by the diverse style of Fela Kuti, King Sunny Ade, and Moussa Doumba, the band recorded "Wasso" at the renowned Ouaga Jungle Studios in 2015. The track exemplifies the band's raw and unrefined sound, blending Mandingue guitar, the native harp donso n'goni, dub, and afrobeat into a cohesive funk rock texture. 

Imarhan — "Tahabort" (2016)

The desert rock sextet Imarhan is one of the promising avant-garde bands to come out of Northern Africa. Not only do they combine influences as diverse as Algerian Rai music, American jazz, Burkinabe funk, and global pop, they also find solace in ancestral Tamashek poetry.

Off their eponymous album, "Taharbot" stands out as a fast-paced number that skillfully weaves together restless elements of raï and funk. There is a combination of a robust bass, reverb guitar loops, complex polyrhythms, and a sweet spot in the riveting riff. 

BCUC — "The Journey with Mr. Van Der Merwe" (2016)

Bantu Continua Uhuru Consciousness (BCUC), formed in Soweto in 2003, uniquely integrates all of South Africa's official languages into their music.  The seven-piece act draws from indigenous and modern music, combining ritual songs, fireside chants, church hymns, and rap with a rock and roll spirit. 

"The Journey with Mr. Van Der Merwe" from their 2016 The Healing album, is a long spell of different sounds anchored by the presence of a strong electric bass guitar. The song serves as a critique of the exploitation of South Africa's rural poor by the urban elite, and incorporates a traditional South African call-and-response that develops into a dub style mid-song.

Mdou Moctar — "Chismiten" (2021)

From their 2021 album Afrique Victime, "Chismiten" rises amid the politically charged and anti-colonial themes of Mdou Moctar's recent work. 

Produced by Michael "Mikey" Coltun, "Chismiten" earned the Tuareg musician and his band attention for challenging conventional definitions of rock music. With its upbeat and danceable sound and strained guitar riffs, Mdou Moctar sings about tişmiten, a Tamasheq word for jealousy. "The song is about how people in a relationship lose their sense of self, they become jealous and envious of others," Mdou explained on Remove.  

Three New Categories Added For The 2024 GRAMMYs: Best African Music Performance, Best Alternative Jazz Album & Best Pop Dance Recording