As we await her , I revisited her discography to look at how far she’s evolved and made a ranking that goes deep into her most defining tracks.

To ensure a well-rounded breakdown, each track is ranked based on relatability, cultural influence and the “IT” Factor. Whether you’re a long-time fan or looking to get into her music, or you need jams to whine to or songs against bad vibes, you should start here. This list highlights Ayra Starr’s 40 greatest songs.

40. “1942” (feat. Milar) (2024)

Named after the infamous luxury tequila 1942, this goes beyond the allure of partying. It’s about a reckless, necessary escape from the pressures of fame and expectations. Alongside her brother Milar, Ayra Starr sings about letting go of overthinking and living entirely in the moment.

39. “Ija” (2020)

Ayra Starr is under a spell, discarding her usual hard-girl front to tell her love interest that she’s ready to go to war for his affection. She effortlessly switches between English and Yoruba, delivering lines that feel like a late-night confession.

38. “Birds Sing of Money” (2024)

Ayra steps away from the usual relationship drama to deliver a catchy, elite hustle manifesto. When she sings about the very birds in the sky chirping, they chirp about bags, luxury and financial abundance. This is her letting us know she’s successful and it’s permanent.

37. “Karma” (2021)

We’ve all had that one ex who treated the relationship like a game, convinced they could rubbish your heart and move on like it’s cool. But on this standout track from her debut EP, Ayra Starr, she stops playing nice and reminds us that the universe always keeps receipts.

36. “DITR” (2020)

Before she was globally recognised as Sabi Girl, Ayra Starr used her self-titled debut EP to show that she’s a storyteller who isn’t afraid to tell difficult stories. “DITR” (Diamond in the Rough) is a beautiful, cautionary tale that explores the chaotic realities of growing up in the modern world.

35. “Amin” (2021)

“Amin” is a pop song about hope. It’s built around prayers, affirmations and manifestations, and it expresses Ayra’s desire for greatness while maintaining optimism. It’s uplifting.

34. “Memories” (2020)

She sings beautifully about freezing time and making unforgettable memories with the ones she loves before the crazy ride of life speeds up again.

33. “Control” (2024)

If you ever needed proof that Ayra Starr was born to rule the stage, “Control” is the track that settles the debate. It’s a heavy dose of Afropop and a bad bitch anthem to remind yourself that you’re the one running the show.

32. “Woman Commando” (feat. Anitta and Coco Jones) (2024)

This is the mission statement of Ayra Starr’s The Year I Turned 21 era: confident and not shrinking. International singers Anitta and Coco Jones join Ayra in celebrating female friendship and freedom. They turn a night out into a declaration of power.

31. “Lonely” (2021)

Hard girl, hard girl, but once loneliness hits, everybody folds. This song is for when you’re desperately missing your ex. Play it when the “strong babe” facade finally crumbles, and you’re ready to risk it all for one more late-night text.

30. “Lonely” (Refix) (feat. Zinoleesky) (2022)

If the original version of “Lonely” was a late-night bedroom cry, this refix is the official invitation to bring those tears straight to the club.

29. “Ase” (2022)

This song was originally dropped during Ayra Starr’s COLORS Show performance. The title itself means “Amen” in Yoruba, and she uses the lyrics to lay down a decree of protection over her life and her peace of mind. She makes it clear that she’s not available to negative energy.

28. “Toxic” (2021)

On this standout track from her debut album, 19 & Dangerous, Ayra Starr ditches self-righteousness to look right in the mirror and admit that she might actually be the problem. But instead of trying to fix it or do better, she’s saying, “Yes, I’m toxic, but what are you going to do about it?” This is a song you’ll find yourself romanticising your own red flags.

27. “Snitch” (feat. Fousheé) (2021)

“Snitch” is dedicated to that specific breed of exes who cannot seem to keep your name out of their mouths after a breakup. Ayra calls him out immediately for playing the victim and running his mouth like a loose faucet. “Snitch” is a jam for when you find out that someone you used to ride for is moving like a double agent and gossiping about you behind your back

26. “In Between” (2021)

The pressure of adulthood and keeping it all together is a lot. For a debut album packed with bad-bitch anthems and confident flexes, “In Between” brings the moment Ayra Starr cracks and gives us a great, vulnerable song. She validates every single person who feels overwhelmed by the weight of expectations.

READ NEXT: “The Year I Turned 21” Is Fantastic, Not the Zeitgeist Hype

25. “Running” (feat. Lojay) (2022)

A promise to never see the same shege twice in her relationships. If the person you love won’t get serious, you might as well move on and warn them to focus on their journey too.

24. “Sare” (2020)

When she dropped her self-titled debut EP, “Sare” is one of the songs that shows that she’s an old soul in a Gen-Z body. If you listened to this song and felt a sudden rush of nostalgia, your ears were not deceiving you. Ayra interpolates the legendary Lijadu Sisters’ 1979 classic, “Orere Elejigbo,” to bridge the gap between Nigerian music royalty and the new school. She sings of an unashamed invitation to romance.

23. “Fashion Killer” (2021)

Long before Ayra Starr became a global ambassador for the micro-skirt revolution, she used this track on her first album to let the world know that her wardrobe is lethal.

22. “Skinny Girl Anthem” (feat. Kayykilo) (2022)

In a time choked by the BBL epidemic and the constant societal pressure to be “slim thick,” Ayra Starr comes through with “Skinny Girl Anthem.” This is the song for everybody who has ever been told to “eat more so the wind doesn’t blow you away.” It shuts down all the unsolicited body-shaming and doubles down that looking skinny is a flex and a half.

21. “Bridgertn” (2021)

This song establishes a new world order in which she makes the rules and breaks every stereotype. Ayra Starr demands that you “Bow down to the queen” before casually announcing her plans to “twerk on my throne.” Whether she’s threatening to send her army after her haters or stepping on necks in her designer boots, she’s not to be played with.

20. “Gimme Dat” (feat. Wizkid) (2025)

“Gimme Dat” links Sabi Girl up with Big Wiz for the second time after “2 Sugar”. Ayra sets the tone for a sensual, romantic song. Wizkid smoothly slides in with charm. It’s an uptempo, funky Afrobeats groove that compels you to grab your lover, cure your sanko and lose your home training.

19. “Away” (2020)

This song talks about protecting your peace and refusing to eat the breakfast somebody’s child tries to serve you. From the start, Ayra sets the tone that she’ll never be the victim. She packs up all the toxic energy and tells it to go “away, away, away.”

18. “21” (2024)

Adulting is a scam, but this soundtrack Ayra Starr made for it is fire. “21” is the title track of her sophomore album and is the coming-of-age anthem for every Gen-Z babe who’s securing the bag and crying in her bedroom. She kicks things off by addressing everyone who ever called her too young or too foolish, telling them to respectfully choke on their opinions because she’s running things her way.

17. “Bloody Samaritan” (2021)

“Bloody Samaritan” is the song that transformed Ayra Starr from one of Nigeria’s most exciting newcomers into a bona fide star. The song is her refusal to let critics, envy and negativity dictate her path. The song’s title itself plays on the idea of protecting yourself from people whose concern isn’t as genuine as it seems.

16. “Cast (Gen Z Anthem)” (2021)

Ayra Starr addresses the society’s moral police on “Cast.” It’s an unapologetic Gen-Z manifesto for choosing your own happiness over everyone else’s unsolicited opinions.

15. “Last Heartbreak Song” (feat. Giveon) (2024)

Ayra drops the hard-girl facade to ask the embarrassing question: “Shey I just dey waste my time?” We’ve all been there, ignoring red flags just because somebody called us their peace. But true to her promises, she draws a firm line, declaring that this is the absolute last time she’s writing a sad song over a relationship.

14. “Lagos Love Story” (2024)

Dating in Lagos is globally recognised as an extreme sport. But on “Lagos Love Story,” Ayra Starr gives us a rare glimmer of hope. She paints the picture of a “God when” Lagos romance. The main premise of the song is about catching the right vibe, locking eyes with a fine boy, and successfully bypassing all the usual talking-stage drama that comes with living in Lagos.

13. “Jazzy’s Song” (2024)

As the Mavin princess, it’s only right that she drops a track paying homage to the Don himself. By seamlessly sampling Wande Coal’s absolute 2009 classic, “You Bad” — which was originally produced by Don Jazzy — Ayra Starr bridges the gap between the legendary Mo’ Hits era and her Gen-Z domination.

12. “Goodbye (Warm Up)” (feat. Asake) (2024)

This is about moving on. “Goodbye (Warm Up)” is the song for dusting yourself off, blocking a toxic number and entering your unbothered era. Ayra sings: “I do not accept your apology / Just lemme be, just lemme free.” This is a song to jam when you say goodbye to your ex and warm up for your next adventure.

11. “Bad Vibez” (feat. Seyi Vibez) (2024)

Ayra Starr and Seyi Vibez are operating on a strict “no entry” policy for haters, fake friends and negative energy in general. As simple as that.

10. “Commas” (2024)

If your primary love language is bank alerts and avoiding unnecessary wahala, then “Commas” is the song for you. Ayra gives us the blueprint for having tunnel vision. Why stress over other people’s opinions when you can just focus on multiplying the zeros in your account balance?

9. “Orun” (2024)

Ayra Starr captures that feeling when life is showing you shege, and you just want to tap out. But the Sabi Girl doesn’t accept defeat. It’s a reminder that even the baddest Gen-Z pop stars need divine backup when the weight of the world gets too tough.

8. “The Kids Are Alright” (2024)

If there’s one thing about grief, it’s that it sneaks up on you. This song is a vulnerable, open letter to her late father. It leaves us with just Oyinkansola (Ayra Starr): a young babe navigating loss while trying to make her dad proud. But the tear-jerker is the outro. Hearing Ayra and her siblings dropping life updates for their dad (“I’m in school now,” “I’ve got a daughter now”) is heavy in the most beautiful way possible.

7. “Who’s Dat Girl” (feat. Rema) (2025)

Ayra Starr and Rema’s chemistry makes the song great. They lean fully into their celebrity status, trading lines about attraction, luxury, and the feeling of knowing all eyes are on you. It’s a sleek, flirtatious pop jam.

6. “Rush” (2022)

Throughout the track, she reflects on the sacrifices behind success, the people rooting against her and her determination to keep moving regardless. “Rush” is Ayra Starr singing about her overflowing wins.

5. “Beggi Beggi” (feat. Ckay) (2021)

If the phrase “what are we?” were a song, it’d be this one. Navigating the talking stage in this street is already a dangerous game, and Ayra Starr teams up with Africa’s Boyfriend, Ckay, to sing about it. She’s begging this boy not to do her “strong thing” or play hard to get.

4. “Rhythm & Blues” (2023)

On “Rhythm & Blues”, Ayra Starr hangs up her combat boots, throws away the padlock to her heart and surrenders to romance. This is for when that tough facade finally crumbles and you catch yourself smiling at your phone, texting someone you really like. It’s sweet and catchy.

3. “Hot Body” (2025)

“Hot Body” finds Ayra Starr fully aware of the effect she has on people and isn’t downplaying it. She knows she’s the main character in the room and owns the spotlight. Her confidence is contagious.

2. “Sability” (2023)

If “Bloody Samaritan” announced Ayra Starr’s rise, ”Sability” proved she could turn into a cultural phenomenon. It expresses her appeal as an artist. It’s confident, playful without being shallow, distinctly Nigerian, and accessible to a global audience.

1. “All The Love” (2025)

This song is a soul-stirring one about healing, closure and reclaiming one’s magic. She sings about taking back “all the love” she used to give others and redirecting that beautiful energy back into herself, her peace and the people who actually deserve it. It’s a reminder that choosing oneself is the biggest flex.

ALSO READ: I Look Like Ayra Starr—But People Keep Calling Me a Catfish

As a Nigerian woman, two things are certain in life: people giving unsolicited opinions about your outfit, or even more crazy, a man telling you “he has your type at home”. Over the past weekend on Twitter, the former happened.

Ene Anabelle Ajogwu, an Affiliate marketer gave a presentation at the Mainstack Moment 2026 conference wearing a short skirt suit, and that was all it took for the Nigerian side of the internet to lose their collective shit.

Some argued that it was a corporate event and that she should have dressed “professionally.” Others countered that it was a creator event and she should be able to wear what she wanted.

But the argument quickly moved beyond the event itself and became what these conversations always become about: a woman’s body and how she chooses to dress. And this points to a broader conversation to be had about why people feel entitled to police how women dress.

People on Beyonce’s internet have a habit of turning women’s appearances into public debates. You see it happen with celebrities all the time. Take Ayra Starr, for instance.  She showed up to a recent interview sporting dark and dramatic eye makeup  and that was somehow enough to upset people.

There were hundreds of incensed comments about how she looked tacky, which is frankly insane. How does someone trying a new makeup look trigger you that much?

It’s even funnier when you remember how hard people criticized her during her mini-skirt era, complaining about her revealing outfits  and what message she was sending to young women. You’d think they’d be happy now that her style has morphed into something arguably more modest. Spoiler: They’re not and still have a lot of rubbish to say. And that’s the thing about these debates. You’re damned if you do and damned if you don’t because the mob is insatiable.

There’s also the respectability politics of it all.  Many people genuinely believe that how a woman dresses reflects on her profession or the space she deserves to occupy. If a woman is in  a corporate space, she must dress in a way that protects the image of that space. Just like that, her outfit becomes less about personal style and more about representing something larger. 

That’s another thing about respectability politics. The goalpost is always moving. If you dress too modestly, you’re uptight and old fashioned. Dress in a way that shows your body and you’re an attention seeker with no self-respect.  There’s literally no middle ground because at the end of the day, it is less about the clothes and more about entitlement to women’s bodies. 

In a country like Nigeria where Christian and Muslim teachings strongly emphasize modesty, clothing is often interpreted through a moral lens. A short skirt is not just a short skirt. It is a litmus test for morality.

And then there is social media itself which acts as a lit fuse. Once one person starts the backlash, everyone else feels the need to add their own fuel to the fire. In a world where Elon’s Twitter payouts are  treated like the holy grail, the platform’s average user’s pastime has turned into piling on random people, even when it’s none of their business. 

And that is how a woman giving a presentation at a conference ends up having thousands of strangers debating the length of her skirt. The exhausting part is that these debates are a constant reminder that no matter what you accomplish or do as a woman, someone will find a way to reduce you to your appearance. 

Maybe the reason is simpler than we want to admit. All this is fundamentally about control. People are obsessed with controlling women. What they do. How they dress. What they choose to do with their bodies. 

It’s truly insane and needs to stop.

ALSO READ: Nigeria Has a Woman Problem, and It’s Getting Worse

But while the internet debates who’s copying who, her OG fans know that Ayra Starr has never shied away from carving her own unique fashion identity, heavily tapping into the re-emerging Y2K culture and modern alte fashion.

So, is she being influenced by Tyla, or has this always been her style? We dived deep into her fashion choices throughout the year to find out.

Here is Ayra Star’s fashion evolution.

2021 — Gen-Z Y2K era

When she burst on the scene with “Away,” Ayra’s early looks were classic Gen-Z coded fits, featuring crop tops, really short skirts and thigh-high boots. Everything you’d expect from a 2000s Nollywood baddie, you might see her wear. 

Her sense of style also reflected her sound at the time: fresh, bold and experimental.

BTS photos of Ayra Starr on the set of the visuals for her song “SARE” in 2021

A still image of Ayra Starr from the visuals of “Away” in 2021

Ayra Starr poses for a picture in 2021

ALSO READ: I Look Like Ayra Starr—But People Keep Calling Me a Catfish

2022 — Finding her style

By mid-2022, her sound was crossing borders, and Ayra had cemented herself as a true breakout star. She doubled down on the Gen-Z ambassador look, which many of her core following had come to love. 

Either she was performing on stage, or on the red carpet at events, she was sure to strut out in teeny shorts, micro skirts, and cutout tops, often pairing them with funky sneakers or combat boots.

Ayra Starr at the Headies Awards in Atlanta in 2022

Ayra Starr at the Black Panther: Wakanda Forever European Premiere in 2022 in London

Ayra Starr at The Fashion Awards in 2022 in London

2023 — Making fashion statements

As 2023 kicked off, her style began to mature. After all, it was the year she turned 21. She refined her look and began to rock more high-end designers. While she still donned miniskirts and crop tops while performing on stage, she was more interested in making fashion statements.

 Ayra Starr shows up for an interview at SiriusXM Studios in 2023 in New York City

 Ayra Starr at the 2023 REVOLVE Festival in California

Ayra Starr at the 2023 MTV Video Music Awards in New Jersey

2024 — The new Ayra Starr

By 2024, she had become a global star, and her fashion was beginning to reflect this. She went from attending fashion shows in Paris to walking the red carpet at big music events like the Grammy Awards. At the Grammys, she stunned in a hand-beaded turquoise JÉBLANC two-piece, a far cry from the early schoolgirl miniskirts we first knew her in. Yet the look is 100% Ayra. 

Ayra Starr at the 66th GRAMMY Awards in California in 2024

Ayra Starr at Variety’s 2024 Power of Women: New York event

Ayra Starr at the Business of Fashion BoF 500 Class of 2024 during Paris Fashion Week

Ayra Starr at the 2024 Glamour Women of the Year Awards in New York

2025 — Becoming a style icon

In 2025, we see an Ayra that doesn’t need to prove anything. Her look at the MET Gala in May was proof of this. She looked more relaxed and less interested in impressing. It was a polarising look, with some expecting a stronger outfit. But ultimately, she felt comfortable enough to be at the event.

Ayra Starr at the 2025 MOBO Awards in February

Ayra Starr at the 2025 MET Gala in May

The teaser for Ayra Starr’s new single, “Hot Body”

ALSO READ: What’s That Smell? It’s Not Ayra Starr, It’s Misogyny

If that sounds absurd, it’s because it is — but it’s also familiar. Women who defy expectations have long been slapped with the “dirty girl” label, a last-ditch attempt to shame them into silence or submission.

It’s a pattern I’ve seen play out since childhood. 

At 10, I had an outspoken classmate who never let the boys dominate the “boys are better than girls” debate. Like many of us, she probably had never done her own laundry, and her uniform sometimes had oil stains. Still, it wasn’t her hygiene that made kids dub her a “dirty girl,” it was her refusal to shrink herself. Zoom out, and we were all sweaty, messy preteens, but only she got marked. 

This shaming tactic isn’t confined to playgrounds — it shows up in pop culture too. 

In , Dumebi the Dirty Girl, Mercy Johnson plays Dumebi, a loud, proud pastor’s daughter who refuses to conform to village expectations. After she gets pregnant by a city visitor, Frank (Kenneth Okonkwo) and moves in with him, she clashes with his fiancée (Nuella Njubigbo), who sneers that Dumebi “doesn’t know how to douche.” The insult is revealing: it has little to do with actual hygiene, and everything to do with punishing Dumebi’s nonconformity and sexual independence.

Ayra Starr’s case fits this pattern. Her short skirts have long been a target, with critics trying (and failing) to pressure her into covering up. Now, the accusation that she smells feels like the ultimate effort to shame her into submission.

A clip from her “” , where Wizkid makes a funny face near her, has been offered as “proof” that she smells. An old photo with Rihanna, where the singer puts her hand over her nose, is adding fuel to the baseless narrative. Ayra, for her part, has largely shrugged off the noise, focusing instead on her music and milestones.

It’s telling (and deeply frustrating) that hours after Ayra’s major achievement, the internet rushed to humble her — not with critiques of her talent, but with schoolyard-level taunts designed to humiliate.  

We’ve seen this tired script before. Tacha Akide of Big Brother Naija, known for her fiery personality, was also hit with “smelling” rumours, even getting mocked by Zlatan in a song. Activist Aisha Yesufu, after a public clash with Seun Kuti last year, was also accused of “smelling.”

ALSO READ: The Rise of the Uzama Brothers: How Edo Rap Took Over Nigeria

What unites these women? They are outspoken, unapologetic, and visible in public life. 

Claims like “she smells” are rarely about truth. They’re about casting women as unclean, undesirable, or unfeminine — traits society weaponises to strip them of influence or credibility. Unlike critiques of skill, accusations about smell are visceral; they bypass logic and go straight for humiliation.

Many of these women — Tacha, Yesufu, and now Ayra Starr — were asserting themselves in public spaces when the accusations surfaced. That’s no coincidence. Smell accusations aren’t random; they’re reactions to women who refuse to shrink themselves.

By the end of Dumebi the Dirty Girl, Dumebi finds a new man and begins to soften. Her loud, opinionated self is finally tamed, and only then does Frank decide she’s desirable. Did the “smell” go away? Did she finally learn to douche? How did she stop being a “dirty girl”?

It becomes clear: it was never about being dirty — it was always about conformity. And as Ayra Starr’s rise shows, you can’t silence a woman who refuses to shrink.

ALSO READ: Will Female Sexual Liberation in Nigerian Music Ever Have a Champion Like St. Janet?

Since then, Favour’s life has changed. A tech enthusiast, she is active online, particularly on X, where she has cultivated a following. More than once, she has been dragged for being a catfish of She says she doesn’t lean into the resemblance, but it doesn’t help either that her name on X has been “Sabi Girl” (Ayra’s Starr’s nickname) for a while.

In an interview with żěèĘÓƵ, she opened up about the ups and downs of looking like one of Nigeria’s biggest stars, why she doesn’t want to be called a catfish, and how she navigates life online.

This is Favour’s story as told to Dennis

It could have been just any other regular day at my house. My mother was watching TV in the sitting room, and I was tucked away on my phone, most likely on X (formerly Twitter). Then she called me. If I’m being honest, she didn’t just call out my name — she screamed it.

She was sure of what she was about to say. She had seen me on TV. It had to be me. She was certain. 

I laughed. Because even though my mother thought it was me, and even though I stood there thinking this could be me, I knew it wasn’t.

It was Ayra Starr, and she was in an advert for the hair brand Darling Nigeria. At the time, she was still coming up. The world was getting to know her. I already knew her and was a fan of her music. That was the first time someone told me I looked like Ayra Starr. It wouldn’t be the last.

ALSO READ: Ayra Starr’s Fashion Evolution: From Y2K Aesthetic to Style Icon

I don’t actually see the resemblance, but I think that is common with most people who are told they look like celebrities. Many don’t see it. But from what I’ve noticed, the resemblance must be striking—so much so that it has opened doors for me.

I’ve gotten jobs just because I look like Ayra Starr. I’m currently studying Mass Communication at the University of Calabar, but I’m also an influencer on X. There have been instances where people offered me influencing gigs for looking like her. I have modelled for an eyelash technician, a lip care brand and a skincare brand. They all highlighted my resemblance to Ayra Starr. I guess they expected to sell more because I looked like her. It’s experiences like those that make looking like a celebrity worth your while. 

I don’t lean into it, but I see why someone might think I do, even if just for fun. For a while now, my name on X has been Sabi Girl. It is also an expression I use frequently in tweets I post. Obviously, she sang “Sability,” and also has called herself “Sabi Girl” many times. But it is because I am a fan of her music that I use it, like some of her other fans do. 

I have never met her, but I want to. I know it would be a great delight to meet her.

That being said, my experience as a celebrity lookalike hasn’t been all positive. There have been people who’ve dragged me for filth, claiming I was an Ayra Starr catfish account. I don’t mean this in a funny, wild fan kind of way. I mean dragged in the way that people get dragged on social media. I see them randomly in my replies. There have been people who have slid into my DMs claiming I was an Ayra Starr catfish. Sometimes, people don’t follow the whole story or get to the root before joining in a pile-on. So even when they realise it’s just confusion, many have already checked out of the conversation. It’s really crazy. I’m just grateful none of it has gone viral.

When I started being active on X, this was not what I anticipated. I didn’t know that people would claim that I looked like a celebrity. I’m a tech enthusiast. I may not be able to code yet, but I like having fun on social media and just learning new things. I just want to graduate from university, grow and be the best version of myself.

żěèĘÓƵ readers are currently giving feedback about us this year. Join your voice to theirs by taking .

ALSO READ: I Went Viral for Looking Like Davido — Now I’m Paying the Price

Lagos, Nigeria, was a haven for music enthusiasts as it hosted a sensational four-day music festival. Nestled against the backdrop of its vibrant nightlife and rich cultural scene, Flytime Fest was a massive success, drawing 30,000 fans to its sold-out venue from December 22 to 25, with Gunna, Olamide, Davido, and Ayra Starr serving as the festival’s headliners.

Tyla, Wizkid, Burna Boy, Rema, Tiwa Savage, D’banj, Bnxn, Darkoo, Fireboy, Omah Lay, Fave, Ckay Odumodublvck, Shallipopi, Cobhams, and other performers were also on the bill. After the concert, Cecil Hammond, CEO of Flytime Promotions, reflected: “Gunna injected a new vibe for such a diverse and wide-reaching festival. It brings us so much joy to see Lagos as the new destination spot and Flytime is excited to be part of this transformation. Flytime Fest 2024 was another dream realized, and we can’t wait to see how much the movement will have grown by the time we return again in 2025.”

Gunna headlined the first night of Lagos’ Flytime Fest, a four-day music festival celebrating Africa and the African Diaspora that has previously hosted Megan Thee Stallion,Wizkid, Burna Boy, and more. Gunna hit the stage in front of a full crowd packing out Lagos’s Eko Convention Center, a premier entertainment venue in the bustling West African metropolis. After performing a slew of hits including “One of Wun,” “Drip Too Hard,” “Fukumean,” and “Yosemite,” the beat to “Jump” dropped as Tyla strutted out singing in a pilot’s cap, sequined mini skirt, and black bustier. “They ain’t never had a pretty girl from Joburg,” she purred as fans screamed.

Gunna headline set capped Flytime Fest’s Coca Cola Rhythm Unplugged concert that served as the festival’s first night. Rhythm Unplugged is a two-decade tradition that has helped break Nigerian talent like Tems and brought global acts like Ja Rule and Ashanti to the country. 

As the show continued, the electrifying presence of Burna Boy took center stage, igniting a frenzy among fans who eagerly battled for the prime spots closest to the stage. His single, “Sittin’ On Top Of The World,” was met with full support from the crowd and was followed by Dave’s “Location,” “Last Last,” and an energetic performance of “Ye.” among others.

Day 2 saw Nigerian rap artist Olamide headline his three-hour long set that felt like a celebration of Nigerian music. The crowd was treated to surprise guest appearances from global superstars Wizkid, Tiwa Savage, Fireboy DML,Wande Coal, Phyno, and Pheelz, turning the night into a spontaneous celebration of Afrobeats at its finest. The crowd went wild for Wizkid, who took his time and performed a slew of hits, including “Kese,” “Essence,” and Drake’s “One Dance.” Starting from the very middle of the stage on an enormous platform, he gradually moved closer to the audience with each song, to their inexplicable delight.

Olamide performed a medley of his chart-topping hits, including “Melo Melo,” “Durosoke,” “Triumphant” with Bella Schmurda, and the crowd-favorite “habibi.”

Davido took the stage on Day 3, delivering a set full of his biggest hits, including “Aye,” “Unavailable,” and “Kante,” his chart-topping collaboration with Fave.  A mix of high-energy anthems and intimate moments kept the crowd on their feet, while Odumodublvck joined him onstage for a thrilling live rendition of “Funds.” To cap off the night, DJ Dope Caesar brought the crowd to a frenzy with her high-energy DJ set, ensuring the energy remained high long after the final act.

The final night of the festival was headlined by Ayra Starr, whose high-octane performance showcased hits like “Away” and “Sability,” along with tracks from her critically acclaimed album The Year I Turned 21. But it wasn’t just Ayra who got the crowd moving. Rema, one of the fastest rising stars in Afrobeats, made a surprise appearance, delivering pulse-pounding performances of “Ozeba” and “Azaman.” The surprises didn’t stop there – a rare duet between Tiwa Savage and Ayra Starr left fans speechless, showcasing the timeless appeal of Nigerian female talent

Flytime Fest 2024 also featured an emotional tribute to the history of the festival with a special photo collage celebrating ąó±ô˛âłŮľ±łľ±đ’s 20-year journey. From its humble beginnings in 2004 to becoming a global phenomenon, the images reminded the audience of how far the Afrobeats movement has come and how much it has shaped the sound of modern music. 

Flytime Festival will return for its twenty-first edition in December 2025.

The photographer and the founder of the streetwear community , , were part of the 2024 BoF500 class, its annual “list of people shaping the global fashion industry, curated by the editors of The Business of Fashion, based on nominations and on-the-ground intelligence from around the world.”

While the event was underway, Nigerians at Paris Fashion Week decided to seize the opportunity to pepper everybody, posting bestie photos with The Bear star Ayo Edebiri, and sharing clips of Wizkid as he performed live at the after-party. 

See below all the Nigerians who made the BoF500 Gala a full-blown Naija-to-the-world affair:

Ayra Starr

Wizkid

Ayo Edebiri

Stephen Tayo

Grace Ladoja

Iretidayo Zaccheaus

Reni Folawiyo

Irene Ojo-felix

Wisdom Kaye

Swanky Jerry

Eniafe Momodu

Ugo Mozie

Elizabeth Elohor Isiorho

and become that person in your WhatsApp group who always has the inside gist. Thank us later.

Inching close to being the hottest Afrobeats artists of 2024 (so far), their new albums are meant to offer something rewarding. Here are nine subtle lessons that listeners draw from their long-awaited albums.

Dodging bad energy is serious work

You can’t avoid bad-belle people entirely. The only way to become a no-nonsense pro max is intentionally and consistently telling them off like Ayra Starr and Tems did on their new albums (“The Year I Turned 21” and “Born in the Wild”). From Ayra’s Birds Sing of Money, Goodbye and Bad Vibes songs to Tems’ Wickedest and Unfortunate, they set a big “fuck you” tone for bad energy dealers. 

Rollout is MOTHER!

Your business service is a product, and to attract target users and customers, you need engaging content that not only attracts but also gets them talking. That’s what Ayra Starr and Tems did. They were in everyone’s faces. Ayra’s album appeared on Chowdeck and some Nigerian bank apps, and users were urged to listen. Tems put out announcement visuals and even threw a party for music listeners and industry players a day before her album release. These babes put their new albums on everyone’s lips.

Good kids make happy parents

Ayra’s and Tems’ mums appeared on their albums to contribute to their process and album narratives and motivate them. These emotional features prove that parental support is just as crucial as making parents proud.

Always enjoy yourself

You don’t have to be told this, but you need a reminder to enjoy what you work hard for and have a good time sometimes. Somebody play Ayra’s Commas, Control, Jazzy’s Song and Tems’ Wickedest, Turn Me Up and T-Unit and turn the fuck up.

Never leave your squad behind

Carrying all your real ones with you (including sharing opportunities) shows that you value your friendship and are proud of it. This is how Ayra Starr feels in Woman Commando.

Women are the biggest gangstas

On Bird Sings of Money, Ayra says her past experiences have toughened her up in the trait of a gangster. She even made Woman Commando, and Tems made Gangsta. When the other gender is back on top, you’ll get the memo or not. For now, new lords are in town.

Never hesitate to throw toxic lovers away

Don’t wait for your toxic partners to fly their red flags before you throw them out like bath water. You better get necessary updates from Tems’ Unfortunate and Ayra Starr’s Goodbye (Warm Up).

You’re your biggest motivator

It’s okay to be sad or cry. But when a horse knocks you to dust, pick yourself up and push yourself to be better until you can ride it with a flex like Ayra on Last Heartbreak Song and 1942 and Tems on Burning and Hold On.

Forever be a dream chaser.

Ayra wanted to be a pop star before 16, but it only happened when she turned 19. Now she’s 21 and global. Tems had a 9-5 for a while but didn’t let her music dream die.

Album Review: Tems Finds Optimism After the Wild

Ayra Starr turned 21 in 2023. But like stars, her reflection is in retrospect. Hence, her second album, “The Year I Turned 21” (TYIT21), appears a year later, aligning perfectly with her birthday. In notice of this, her age-themed albums draw a specific parallel to the British music icon Adele. One can argue that Ayra Starr’s music and sonic concerns are different, but the universality of the experience of marking youth and independence is intact.

Age 21 was also a year of many firsts for Ayra. She came into 2023 with Sability and ended the year with appearances on two American movie soundtrack albums (Creed 3 and SPIDER-MAN: ACROSS THE SPIDER-VERSE) and a posthumous album of the legendary Bob Marley. She went on her first world tour. She was named Amazon’s Breakthrough Artist of 2023. for the first time at Rema’s “Ravage Uprising” show. A title doesn’t get more specific. “The Year I Turned 21” is a more profound title than a chronological buildup on her “19 & Dangerous” debut.

Now enjoying some career moments that surpass most of her predecessors’, conversations about Ayra’s music shift her to a trajectory that may transcend her into Afropop’s matriarch. Alongside Tems, she’s the anointed leader of the new uprising of female Afropop singers. These favourable speculations are fever pitches as her quick conferment majorly rests on the merits and success of her sophomore album.

The music is saying…

“I learned to be gangster, way from these dark times,” Ayra shares in Birds Sing of Money, opener of “TYIT21.” She spends the rest of the album owning that fearless identity, finding and defining what it means for her to be 21. How does she separate a fugazi from true love, independent versus dependent? Does she want to express freedom or curb enthusiasm, be a baby or face adulthood, keep her guard up or be a goofy youth, be a people-pleaser or live carefree, workaholism or chill and enjoy the fruits of labour?

Ayra’s music blends styles — afrobeats, hip-hop, pop, R&B, ragga, dancehall, house, amapiano, indie folk — to probe her conflicting feelings. She plasters them all against the backdrop of her career, expanding celebrity and blooming 20s. Her lyrics can be saccharine, but don’t get to a conventional bore. 

With numerous global achievements just four years into her music career, Ayra has built her universe so high that the chant on Birds Song of Money ceremoniously likens her to the stars that light up the night. Forty seconds into the song, whose also uneasy but organised violin, heavy hip-hop drums, breezy strings, chiming chords, and reggae undertones thump with a threatening assertiveness, yet it’s also calm and composed, one marvels at the pure sonic mastery. Fantastic production by London and Marvey Again.

Her melodies are flexible, as is the boomeranging flow she spins on the P2J-produced Goodbye (Warm Up), featuring Asake. Ayra shows a toxic partner the door out, while Asake plays the heartbroken, self-righteous partner who lowkey won’t let go. His verse’s almost introspective that it convinces chronic gossip blog readers that it’s likely his response to his recently broken relationship. Ayra and Asake share chemistry, but this song’s strangely a mellow track hatched for the TikTok girlies and intimate parties like where she previewed the song in April.

The already-released Commas sports an upbeat composition, interestingly just a tone and pitch away from Tekno’s Peace of Mind. Exchange ataraxis for financial merit, and you have a testament to Ayra’s increasing multiple-stream incomes and quality mindset. Commas has joyful production and melodies, though those overshadow its simplistic message that charges listeners to fight dirty for their dreams if they have to. All there is to know about the commitment to excellence is in her lines: “Dreams come true, if na fight / Fight the fight, make you no go tire / Fire dey go.” Perhaps it’s why it took fifteen versions and three producers (Ragee, London and AOD) to get the officially released Commas, during a recent sit-down with Billboard.

“Commitment to excellence” is a watchword she carries to her interviews these days. An evidence of that is her passage into the global music scene that fully unlocked after her appearance at the 66th Grammy Awards, where she was an inaugural nominee for the Best African Music Performance category. Put that moment into a lyrics generator, and Drake’s “Started from the bottom, now here we here” will pop up. She was excited to be there. So were the Western press and industry players warmed up to the new African music star girl. But frankly, her trajectory to own a seat among existing envelope-pushers like Tiwa Savage, Yemi Alade, and Simi has taken shape since her savvy, critically acclaimed 2022 “19 & Dangerous” debut album. It has a few national hits that pushed her over to international eyesight.

In Woman Commando, featuring Anitta (Brazil) and Coco Jones (U.S.), Ayra brags about flexing her squad and carrying everyone along, sounding confident and pleased as the production reverberates Ragee’s bass-heavy house instrumental. It’s a straight jam.

The album’s upbeat energy descends as Ayra segues into a lover’s mood. She flirts in Control, which interpolates Shakira’s Hips Don’t Lie, and she’s tipsy and ebullient on a potential one-night stand. She opens herself up to emotional attachment, but it soon gets tiring on the Lagos Love Story that sounds like a love song that’s trying too hard. It’s mechanical and an unnecessary segue into the lively Rhythm & Blues (produced by Sparrq).

On 21, the album’s theme song, the weight of emotional distress, adulthood, self-reliance, boundaries and (it goes without saying) enjoying the fruits of her hard work weighs on her. It’s a niggle of new baggage, not a pity cry. When Ayra’s on an R&B production, her command of her emotions grip. It’s no surprise she’s convinced she writes better sad songs. This production by Fwdslxsh, KillSept and Mike Hector is a convincing ambience. Hopefully, an R&B album is in her future.

It gets fragile on Last Heartbreak Song. Ayra throws away a one-sided love while American brittle-baritone vocalist Giveon chides himself for letting a real love slip away. This song dates back to the “19 & Dangerous” recording session with Loudaa, but is there a heartbreak song that retains the prospect of intimacy? It’s the Last Heartbeat Song.

Still laid-back, Mystro takes on the next production. Bad Vibez featuring Seyi Vibez slides us back to Afropop. It’s bouncing over a plush R&B ballad to ward off negative energy, likely the internet moralists that police her short skirts and experimental fashion. It’s an exciting collaboration that elitist listeners would enjoy if they were open-minded to the magic of street-pop. To close out the song, she rhymes that she’s still eating off her last hit. It makes an arguable case for the boldest line in Afrobeats in recent times since Asake’s “I know I just blow, but I know my set.”

The songs hop from youthful exuberance to love matters and mental well-being. As Ayra presents herself as a success model, she also grounds herself in her reality as a curious adolescent who knows she has time to learn from more mistakes and has her whole life ahead of her. 

Orun is a cry to the heavens. It’s as evocative about personal longings and celebrity pressure as it’s declarative about forging ahead, past mistakes, and regrets. It’s a confessional, mezzo-forte track that draws hips into a slow whine. 

Jazzy’s Song (cooked by PPriime) comes next, and it’s a turn-up song that unexpectedly samples Wande Coal’s You Bad and alludes to it as Don Jazzy’s likely favourite song rather than a tribute to her jolly label boss and influential music producer. Indeed, it’s a hit but feels out of place between two mid-tempo, emotionally charged tracks. This arrangement hardly lets listeners fully unpack and tie up emotions. It throws the listener in the middle of mood swings.

She trusts Johnny Drill to soundtrack the following 1942. It’s a delicate cut that expresses Ayra’s and her brother Milar’s fear of losing everything they’ve worked hard for. Their duality picks up here: the despair of loss drowns them in a pool of liquor, but they still hold to their faith like an anchor.

The closing track is a letter to her late dad, hoping she’s making him proud. Ayra’s mum’s voice starts the song by encouraging Ayra to live a full life. Her siblings also recount their ages and strides. One can hear the pain and pride in their voices, the kind that desperately hopes that their departed one sees what they’re making out of themselves. The song, produced by Remdolla, echoes out with a proud statement from Ayra’s mum that translates to the track’s title: The Kids Are Alright. 

Conclusion

The bonus song, Santa, thematically has no place on this album. It’s just an expansion and numbers strategy that’ll drive up streams and cement Ayra as the first female Nigerian artist to hit on Spotify. Get your money, girl!

Looking outside in, being young and successful is one of the coolest things one can be, but it can also be an overwhelming position. Aside from squaring with life and the natural struggle to maintain success, being a female recording and performing artist means working multiple times harder and smarter than the other gender. If this is the evolution of the girl superstar who was once 19 and dangerous, it’s partially true. Most of her story thrives in gaiety, youthful innocence, vulnerability and self-affirmation.

With 15 songs, “TYIT21” arrives as a lengthy, nuanced moment Ayra’s having with herself. Rather than a conceptual and narrative album, it’s a string of songs linked by recurring themes: heartbreak and love, happiness and melancholy, openness and boundaries, self-promise and tributes. This is the music you get when endeavouring to memento vivere because personal moments are fleeting, fond memories become distant, and emotions get unhealthily managed. This is the music that makes Ayra feel 21. It’s tough to say the same for the listeners, though.

Compared with her coming-of-age “19 and Dangerous”, “The Year I Turned 21” is her most poignant and impressive work — an album of the year contender. Throughout the album, Ayra stays the dominant voice, in control. Its writing is sustainable, production is high-value, and there’s no Americanisation of the features. It’s just real and bad Afrobeats music. Although the arrangement could have been smoother, not moving tempo to tempo without consistently keeping the listener grounded.

“TYIT21” would garner facile praise and embrace, considering its Zeitgeist hype, convincing rollout, major anticipation, and the currently uninspiring music year. But it’d need time to find its place as that crowning sophomore. This is subjectively a premature evaluation anyway.

According to Polish poet Stanislaw Jerzy Lec, youth is the gift of nature; age is a work of art. Hopefully, Ayra Starr continues to stay alive to her feelings, with more virtuosos to craft them into songs at every juncture of her life.

If You’re Trying to Get Into Arya’s Music, We Asked Chat GPT to Rank Some of Her Biggest Songs For You