ARTISH Picks: Top 50 Best Songs of 2020

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There have been whispers across the music world that 2020 was a good year for music. We know, it's hard to fathom why 2020, a year marked by COVID-19 is being touted as a one of the best years for contemporary music in recent memory. But it appears that amidst the chaos of a pandemic, economic uncertainty and anti-police brutality protests around the world, music served as a healing balm to soothe worried hearts and broken spirits. To wrap up a year that kept us all cooped up inside and glued to tiny screens that served as our only virtual windows to with the rest of the world, ARTISH presents this alt mondays special picks of the best 50 songs released in 2020.


Credits:

Curator: Toye Sokunbi

Creative Direction: Shina Ladipo

Contributing Editors: Akinkunmi Adegoke, Ajibola Fashola, Tami Makinde, Dennis Ade-Peters, Damilola Animashaun, Ayoade Bamgboye, Ruth Zakari, Daniel Ochei, Wale Oloworekende, Nelson John, Emmanuel Esomnofu, K.O.

Producers: Akinkunmi Adegoke, Toye Sokunbi


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From Carrie Underwood's anthems to Lauren Daigle's ballads, contemporary christian music has come a long way and Maverick City Music are the latest entrants into a genre that takes popular sounds, laced with gospel themes to entertain the average music lover, regardless of faith. On “Promises” the choral group sings about a covenant keeping God who always fulfills his part of the deal because of his endless love. The highlight is Naomi Raine's solo for how it evokes scripture, particularly Hebrews 6:19 (NLT). – K.O.

"The revolution is this genocide/ Yeah, my execution might be televised", Freddie Gibbs raps on "Scottie Beam", a provocative line that suggests the sacrfice of those willing to die for their beliefs is a kind of revolution in itself. 2020 has been marred by state-sanctioned violence around the world. With usual suspects of social commentary rap like Kendrick Lamar, unusually quiet Freddie Gibbs’ "Scottie Beam" provides reassuring solace that truths about the black experience in such a transformational year will not be left out of 2020 rap music archives. - Toye

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Some of the best songs reveal their magic quietly. They serve them up in that clever yet unexpected twist at the bridge, the gut-wrenching accuracy of their lyrics. With “On The Floor”, American singer Perfume Genius wields this power expertly. “OTF”, like much of his critically lauded album Set My Heart On Fire Immediately, is a heart-thumping race through a long hall of gory memories. It invites us to take part while suggesting that we shield ourselves. We are also not necessarily required to participate in this process of unspooling, we are only good as observers. A million invisible ears leaning into a sticky past. – Nelson John

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DMW's 2020 run, as a rising African powerhouse record label, can be summarised in this one dance-floor heater off Davido's third studio album, A Better Time. Here Davido, holds the fort as the supreme-leader of the collective's dedication to feel-good vibes and smash Afropop hits. Mayorkun, DMW's most successful product till date, who has proven adept at driving home unassuming earworms, is featured here. While, Mayorkun pays homage to his label boss as a worthy Jedi, to his music quest as a Padawan from the ghetto, in a most OBO-like fashion, Davido credits his becoming "The Best”, to his own innate star power. - Toye

21-year old Polo G, raps with the cadence of an emotionally mature old soul on "I Know". On this string-set track off his latest album, The Goat, the fast-rising rapper explores depths of personal relationships and past traumas. - Ajibola Fashola

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Two pictures flash in my head the first time I listen to BTS's Dynamite: the red lipstick on Miley Cyrus' lips in Wrecking Ball, and a Ru Paul wig perched high above her head while she poses in front of Michelle Visage. In this song, I want to be a disco ball in the 70s, colourful liquid pouring over more colourful things in a Katy Perry video, rainbow-coloured cotton candy beside Labrinth in an "LSD” clip -- that's a lot of things to be because of a song, but when Jungkook says "Shoes on… let's rock and roll" I feel like I can make it. If there's a reason BTS's "Dynamite” is the biggest Spotify debut of 2020 and the biggest-ever YouTube debut, this is it. - Ruth Zakari

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“I Know The End” throws you into a crack right from its opening lines. The first line in particular, “Somewhere in Germany, but I can’t place it”, sets the tone for the confusion and resignation-tinged nostalgia the song grapples with. The sound is a fierce, multilayered monster we only recognise as a mellow indie record at the beginning. But as the music progresses, we see it is anything but. It becomes harsh and raging, angry and unhinged. Grief is that powerful and this song is a reminder of its messy, messy makeup. – Nelson John

If the name JARV IS… seems unusual, it’s because the British band is founded on very peculiar ideals; and, since 2017, have attempted to interpret them through the intrinsic complexity of Rock music. Beyond the Pale, the band’s debut studio album, was described as “an alive album”, a wordplay on their known intent to bridge the best qualities of live performances and studio recordings. Listening to “House Music”, the sentiment is justified. An ice cold energy performed by lead singer Jarvis Cooker drives the record, gradually progressing from the bouncy drums of the early minutes to the broodiness realized from the latter parts of the record, the bright synths and key loops. When the record is done playing at 05:53, your temporal existence isn’t very different from a child’s, spun above the head by a playful relative. – Emmanuel Esomnofu

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DaBaby’s biggest accomplishment is making himself a ubiquitous part of rap. It is nigh-on impossible to think about hip-hop over the last 18 months without considering Jonathan Kirk’s rattling flow and the spurts of melody that interject them. On new album, BLAME IT ON BABY, he takes his omnipresence to another level, pulling a phalanx of guests to assert his position as one of rap’s next vanguard. “ROCKSTAR” the album’s biggest song, sees DaBaby reassert his larger-than-life persona in tandem with Compton’s latest superstar, Roddy Ricch. There are references to Lamborghinis, Glocks, and Codeine; this is DaBaby at his tantalising best. – Wale Oloworekende

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If the OG version of Tiwa Savage’s “Dangerous Love” is a slow, delectable R&B offering, then its remix by DJ Tunez and D3an is its more ambitious cousin. It is daring and bold, and of course carries a more upbeat body. A striking part of this remix can be found in its chorus where Tiwa Savage’s voice is allowed space to play around and explore. This remix is experimental but somehow manages to stick most of its landing and in a way, it's not a striking take on an already fantastic original. – Nelson John

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You don’t think Tomi Owo is going to do any of the things she does on “Beautiful”. The song begins with a deceptive lack of character, a simple repetition of guitar strings that soon shifts into something bigger, something more accomplished. You would think the magic ends there. It doesn’t. Because even when Tomi’s voice comes on, followed by the wise and effusive words that make up her lyrics, “Beautiful” takes on an even more ethereal shape, it is blazing, fresh and sounds like a fantastic cover of a once iconic song. As Tomi Owo explores vulnerability and the sense of self through “Beautiful”, there is no doubt that a bold and necessary new voice is now finally being heard. – Nelson John

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Benee’s sleeper hit “Supalonely” could easily feature as the original score for a ‘70s coming of age rom-com. The song which gained notoriety this year, despite its release the year before contains all the elements of feel-good lo-fi pop infused with the right amount of teenage angst and self-deprecation to compliment that moment where the lead character loses their love interest. And it seems that the internet certainly agrees as it endlessly featured on creative TikTok videos around the world for the better part of the quarantined ‘supalonely’ summer. It’s the perfect sad banger to comfort you through your most depressive episodes. - Tami Makinde

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On “Loud”, Moliy and Kkeda indulge in intentional inebriation as a means of inducing euphoria. The Ghanaian singers sing of the clouds they’d love to walk on, deaf to earthly rumblings and mute to the aches for a romantic partner. The tender Afropop song is a gentle glide through loud dreams, where minds are numb to overthinking and unnecessary feelings. Moliy believes her music is empowerment to women. She wants them to lead lives guided by their desires just as she has chosen hers, nestling at the smokey tip of a blunt. Alongside Kkdea, she floats through the waves of this identity, blissful in her decision. – Daniel Ochei

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On her debut EP ‘Five Stages’, singer Somadina painstakingly puts her life back together after an undeserving lover breaks her heart. She soundtracks the stages it takes her to accept, mourn, and move on from the traumatic experience, unfurling the complexities of the grieving process. The spit-along confession on “Don’t Need” makes for the project’s most compelling moment, not only does Somadina deliver a stunning vocal performance as she sends a targeted death wish to an ex-lover, she composes relatable lyrics that would surely resonate with anyone who has been unlucky in love. - Tami Makinde

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Drakeo The Ruler, in the last two years, has managed to stay in legal trouble, first for murder, which he was acquitted. He is currently awaiting trial on other serious charges. “Backflip Or Sum'' is one of the tracks on Drakeo’s mixtape titled “Thank You For Using GTL.” Drakeo recorded his vocals for the mixtape over the phone while awaiting trial. Even over the phone while in jail, Drakeo still brags about the highlights of being a rapper, bragging about the indictments he’s beat in the past. Drakeo raps like a man who knows he’s going to be home soon and his fans should be excited. - Akin

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The Kid has become a man, the seed is now a tree with branches. On the casually snappy “Rockstar Knights”, off the third installment of his Man On The Moon series, Cudi teams up with Redd—one of his artistic scions—but it is Cudi who rolls back the years to score a touchdown. After the last few spotty years due to ventures into film and the need for some personal time, it's 2020 and this is Cudi reminder that he's still adept at addressing the intersection between fame, mortality and happiness. – K.O.

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There's youthful exuberance and there's 24kGoldn's level of enthusiasm, but that doesn't shield him or collaborator iann dior from the trappings of a toxic relationship as made evident on their collaborative song, “Mood”. As the song progresses, you get the feeling they are dating girls who are human manifestations of the proverbial rain that ruins the parade. Accompanied by upbeat instrumentation, they try and fail to successfully inquire about the reason for the mood swings, sound-tracking the lives of so many men in the process. – K.O.

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Our relationships with our parents often form the basis of our interactions with the world; other people and most importantly with ourselves.Most of us only realise the impact childhood experiences have on who we become as adults, when we view life through the lens of our own experiences. On "Decided", alte pioneer, Odunsi suggests that he fought some of the demons brought about by longing for a stronger relationship with his dad as a child, singing: “Many Times I Didn’t Trust, Many Times I Didn’t See Love/ Now They See Fire In My Eyes And Wonder Why Everything Took So Long” - Damilola Animashaun

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When Lil Uzi Vert released Eternal Atake in March, his large fan base relished another exercise to immerse themselves in the trippy emo rap plane he’s flown in since dropping his early mixtapes in the mid ‘10s. One of the album’s standouts, “Urgency” features Syd, former lead singer of alternative band The Internet. It’s a rather simple song that builds on the unique voice textures of both artists, and with lines like, “You make the rules, babe/ I drink on Sundays I stay out too late/ But if you do, just tell me who you with”, straddles away from the cliché storylines that punctuate such duets, and Wheezy’s layered production sounds like summer, like laughter and good friends. – Emmanuel Esomnofu

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A few years back, Nasty C was touting T.I. as one of his major influences. This year, the Bankhead boss made his way to two features on the S.A. rap superstar’s album, Zulu Man with Some Power. On “All In”, both men rap about the sacrifices they’ve had to make on the way to their respective peaks, trading bars about misguided decisions in the blind pursuit of a singular purpose. The bouncing keys signifying the rough and tumble of their experiences but this is a joyous story; their singularity of purpose has borne results and they are not sorry. – Daniel Ochei

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From Port-Harcourt, the same Southern-Nigerian city that gave us Burna Boy, come Ajebo Hustlers an Afropop duo, whose frenetic single "Barawo", snaked into the airwaves from the #EndSARS protests grounds. "Barawo" is a poignant social commentary on the state of Nigeria's corrupt leadership in a 4-minute snapshot. - Toye

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Going away from Burna Boy’s Grammy snub in January, it was unclear what the musician’s reaction would be. The Recording Academy’s non-award of African Giant, his 2019 tour de force, felt like a disavowal of sorts. His response to that brief hitch was the intensely personal Twice As Tall, a record that breathes the essence of its title. On “23” away from the mopping of “Level Up (Twice As Tall),” you can hear Burna Boy literally growing twice as tall. There’s acceptance first and, then, defiance. When he vocalises the words, “Music make me feel I be Jordan,” you know Africa’s Giant means everything he’s saying. – Wale Oloworekende

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Soft chords swirl and trumpets burst at the beginning of Killertunes’ ear-grabbing beat for “Wake Up”, immediately cornering attention for Terri to reacquaint us with himself on the intro of his debut EP, ‘Afro Series’. While he’s iterated to fit his own peculiarities, his uncanny sonic resemblance to mentor Wizkid works for him – that jaw-clenched delivery distilled into something urgent and chilled – as he assesses his daily struggles and the ideals behind his pursuits in life. Right from those jarring intro seconds, sparks fly, but it’s young Terri pressing his notions unto wax that holds sway. – Daniel Ochei

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Back in the summer, rapper Lil Baby, became a vocal figure in the Black Lives Matter movement of his local home city of Atlanta, USA following the protests surrounding the deaths of George Floyd and Breonna Taylor. On "The Bigger Picture" he puts some of the emotions behind his political rebrand on wax, touching on nuances of American racial divide and the trauma of economic inequality. - Akin

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This year, the world became more virtual than ever, as the Coronavirus “forced” us to start “living” online, a situation which in turn expanded the meaning of community. So it is poetic that the world's foremost virtual band, the Damon Albarn-led Gorillaz, and Fatoumata Diawara blessed us with this gem in February, just before the pandemic kicked into full gear. “Désolé” – French for Sorry – is a spell-binding, jazzy cut that finds our heroes in a conundrum that’s near impossible to wiggle out from, much like the world in 2020, where all they can do is say sorry. – K.O.

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It is customary for 007 theme songs to be performed by the biggest artist of the moment, so it came as no surprise that the dark queen of pop herself, Billie Eillish was announced for the upcoming James Bond title, expected in theatres next year. No Time Die is premised on 007’s post-M16 career, where an older Bond trying to adjust to civilian normalcy is recalled into service after five years of retirement. For her soundtrack rendition, Eilish plays into that premise, inverting her often existentialist worldview for a melancholically optimistic song about dying another day. When you're tasked with lending your voice to one of the most iconic film franchises at only 18 years, it is truly no time to die. - Toye

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Against odds of a pandemic keeping everyone indoors, The Cavemen have had a phenomenal 2020 run, holding limited capacity shows across Nigeria and becoming unofficial kings of the underground. "Beautiful Rain", a crowd favourite is a string-set song about self-acceptance and one of the truly spiritual cuts off their debut album ROOTS. - Toye

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If Christine and The Queens, "PIHBS" had been a rap song, it would have been summed up as the feels of an artist soaking in their own innate 'still got it' self-confidence. Despite a brief silent spell, Christine and The Queens still brings raw charm with every sung lyric. On this single, the French singer's melancholic delivery pulls listeners into an emotive synth-set mindscape, that may invoke some of the all too relatable solitude that washed over us all during the long-ass months of global lockdowns. - Akin

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The shortest song on this young’s artist debut album, Jessie Reyez raps about her city and some of her insecurities “Titties still small, nails not done Hair not done and my teeth ain't fixed” Jessie creates music without boundaries and “ROOF” is an example. - Akin

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The first time I heard pussy talk, I was in despair thinking about all the times my pussy did not talk euros, dollars and yen(s). JT is a testimony — the fact she can come out of prison for scamming niggas to rap about scamming niggas and no longer have to scam niggas makes me want quit my day job. Till I get the cheat code to life, I'll bump "Pussy Talk" and keep dreaming. - Ayoade

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Drake has spent a significant part of his career seeking out the most promising diasporic sounds and carrying them to the limelight via co-signs and collaborations that have engendered his stint at the top of pop superstardom. With the clunky, unnerving sound of drill, the Canadian superstar was slightly late but it makes no difference as he embraced it in 2020. His bars on “Only You” are some of his sharpest this year and the looping in of Arabic phrases reminded people that Drizzy is always willing to take those kind could-be-taken-the-wrong-way, creative risks. Headie One does not get out-rapped either, Tottenham’s golden child has the sufficient strength of presence to complement his guest. – Wale Oloworekende

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Tems’ big voice evenly matches the retro-fitted aesthetic of “Damages”. The themes she explores – rebounding and moving on – are so universally true that we all feel connected to what she has to say. In that sense, “Damages” is the continuation of the group therapy she started with tracks like “Mr. Rebel” and “Try Me” When she sings “Don’t call my phone, you’re not a mad man,” Tems is speaking for all of us and our desire to heal unencumbered. – Wale Oloworekende

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Bad Bunny is many things, but predictable is not one of them. His second stand-alone album, YHLQMDLG, demonstrates San Benito’s freedom of spirit and form. Literally translating to “I do whatever I want”, Bunny spends the better part of the project crafting lustrous club bangers, trap anthems, and sensual love numbers. It all comes to a head on Yo Perreo Sola” the galvanizing empowerment anthem that features vocals from Nesi. You might not always understand what Bad Bunny is saying in the moment but the sheer power of the music made by Latin pop’s biggest artist can leave you in a daze, as “Yo Perreo Sola” does prove. – Wale Oloworekende

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Addled R&B has been as much a part of Drake’s arsenal as has been his ability to rhyme words since he registered on the soundscape. Giveon’s dreamy prelude on “Chicago Freestyle” provides a perfect base for Drake to demonstrate his prowess with interpolation from Eminem’s “Superman” As true a master of the heartbreak genre as any, Drake sounds contemplative – comical even – on this particular installation, a nice change from the bitter, cynical edge that had crept into his melancholic songs about matters of the heart. Released with “When To Say When” a side-B to “Chicago Freestyle” Drake performs another exciting peek into the life of Aubrey Graham. – Wale Oloworekende

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This is the second track from Anderson.Paak's 2020 discography featuring a verse from Rick Ross. On "CUT THEM IN", Rick Ross’ waxes themes around his signature luxury rap. Both Paak. and Ross rap about their wealth while also rewarding good friends by “Cutting Them In.” They also discuss the benefits of having enemies on this lushly produced track by Hit-Boy. - Akin

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Within the opening bars of his verse on “Stay Down”, Lil Durk proclaims his affinity for luxury accessories and jewelries, informing us of his come-up to eating lobsters. He’s not just flexing, he’s pointing at the perks a love interest will enjoy if she decides to remain loyal. Metro Boomin’s upbeat production, which hugs the line between minimal and baroque, swings with a verve that matches Durk’s propulsive flow, while 6lack imbues the song with his genteel and tenderness, and Young Thug appears for a characteristically impressive cameo. – Dennis Ade Peter

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From Omah Lay's second EP of 2020, What Have We Done, comes this anthemic number about personal spirituality and finding comfort in the likeness of a supreme being. - Ajibola Fashola

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 “Always yelling names that’s deceased”, G Herbo laments on the first verse of “PTSD”, plainly stating the rough ways of the street life, its fatal effect, and the imprint it leaves on those who survived. These are typically heavy themes, but the external context of this song makes them even heavier. Juice WRLD, who spins the indelible hook, passed away less than three months prior to the release of “PTSD”, and months later protests against racially-motivated police brutality erupted in America, after the world watch another unarmed Black man die slowly and painfully. G Herbo and his collaborators may have been speaking from one perspective, but the pain they unravel is universal, for Black people at least. – Daniel Ochei

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On “Good News”, by American rapper Mac Miller begins by telling us a lot and nothing at all. But you can sense conflicted feelings. You can sense a deep, roiling sense of tiredness that only good news will erode. With 2020 constantly taking and demanding that we continue to move with a fraudulent sense of normalcy, it’s not surprising that many of us are tired and looking out for any bit of uplifting information. A promise that things might not only go back to the way they were, but that they get better. – Nelson John

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Satire can be a double-edged sword, mainly because ironic lampooning can come off as kitschy and, in some case, turn into affirmation for supporters of what’s being condemned. Rina Sawyama’s “XS” is a sparkling example of satire done right, a jab at capitalism-enabled greed that’s as brassy as it is artful. Backed by a pounding and crashing Y2K pop meets nu Metal instrumentation, the Japanese-British singer depicts pokes fun at materialism’s omnipresent black hole by appearing to relish it, while visibly ignoring its adverse effects. “XS” implicates everyone, and it’s even raucous enough to get Jeff Bezos raging. – Dennis Ade Peter

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With a pandemic upending normal industry practices, TikTok became the most prominent place for the birth of hits in 2020, and they didn’t (exactly) have to be new songs. In 2019, Kazakh DJ/producer Imanbek put his own spin on Saint JHN’s trippy-trap song, “Roses”, originally released in 2016. The electronic boom of Imanek’s drums lifted the somewhat mellow original into dance and exuberance, retooling into the sort of electronic anthem bored teens on a social media app could send into ubiquity. The ghetto Lenny Kravitz may not have known about Imanbek’s remix before its release, but he sure as hell is grateful for his first international hit. – Daniel Ochei

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With “Abule” Patoranking straddles a rich tropical texture meshed with highlife tints for this reggae-folk banger. Released back in July ahead of his third studio LP Three, “Abule” captures the mood of several places that intersects with its theme of fun, freedom, community, and wanting to enjoy the moment. Some of these places are clubs, bars, the notorious Ajegunle, and the interesting yet complicated lives of other people. “Abule” delivers sharp imagery emphasised by surprisingly immersive storytelling. And like any good Afropop tune worth its salt, “Abule” is right at home as a company for a lazy summer evening and the right song to get the party started. – Nelson John

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No other song on Made In Lagos provides insight about Wizkid's arrival at this moment in his decade-long career like “Reckless”. The album opener is at once confessional, meditative, and appreciative. “Got so many blessings, I dey count all night/ Yeah, Starboy makin' moves, no man take my shine,” he sings when he launches into one of the album’s most pleasant turn of melodies. There’s really no time for the negatives in Wizkid’s world right now and, without attempting to overcompensate or overstate his position, Starboy makes his case effortlessly. – Wale Oloworekende

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Cardi B and Megan Thee Stallion kind of crash-landed this gigantic collaboration that grew into a global pop culture moment. As an event, “WAP” is a giant fuck you to puritan culture and slut-shaming that could only have been perfected by a duo like Cardi and Megan. What was somewhat lost in the hysteria of the release is the technical excellence of “WAP.” From the sample of Frank Ski’s “Whores in this House” to Cardi’s breathless enunciation, quality abounds. – Wale Oloworekende

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Two of the world's biggest pop divas' combine forces on “Rain on me”. Though Gaga and Grande emerged in different eras, collaborative synergy is found where they merge themes stemming from pain. "Rain On Me" is an attempt to heal, an attempt to reconcile, as Lady Gaga and Ariana Grande women attempt to therapize themselves in the only way they know how to. Both women pour their experiences into a record of defiance. The upbeat pop-disco of the driving music absorbs the pelting raindrops of their experience while expounding gratefulness – it’s their triumphant scream in the rain. – Daniel Ochei

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Tame Impala’s early year album, The Slow Rush, is the equivalent of meditating at a rave; a booming, lush, and entrancing experience that compels body rolls with eyes tightly shut. For “Breathe Deeper”, multi-talented frontman Kevin Parker folds recognisable sonic standards into a psychedelic pop masterpiece, in a way only he can. There’s a meaty G-funk bassline, drums that faintly recall the effervescence of ‘00s Neptune, swirling house keys, and buzzing alien synths, all of which are brought under the spell of Parker’s zen-inducing, self-affirming intonation: “Breathe a little deeper, should you need to come undone”. Dennis Ade Peter

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In a year where dancefloors were shuttered, various forms of dance music still found a way to thrive and remain creative. Down south, Amapiano continued to soar and even made in-roads across the continent. In an alternate summer where live concerts, house and beach parties didn’t pose a fatal threat, Kabza De Small’s “Sponono” would’ve been a far more momentous continental smash. At that, an immaculate collaboration between three of the biggest African artists is nothing to scoff at. With the ambience set by Kabza’s tropical production, egos give way and these big voices combine for an undeniable epic. – Dennis Ade Peter

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There was never any doubt that Amaarae's debut album would live up to expectations. Since the release of her debut EP, Passion Fruit Summers in 2017, her silky voice surfaced to be one of the most unique stylistic quirks sported by any African female artist in recent history. When she sings, Amaare's voice oozes sex, but her lyrical leaning towards a hip-hop aesthetic, makes her delivery even edgier. On "Fancy" off her new album, The Angel You Don’t Know, Amaarae basks in the self-confidence of a singer enamoured by her own swagger. It's the perfect song to loop on the car stereo as you head out for a good night out, in your finest drip. - Ajibola Fashola

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Since he broke out in 2018, Afropop firestar, Rema has been nearly unstoppable. Though, save for a few EPs he's yet to roll-out a full-length project, Rema has continued to impress one dance-floor bop after the other. The heaviness of "Peace Of Mind" however, offers a rare insight into the mind of the man behind the hit-making machine.  On this late 2020 entry coming just weeks after Nigeria's much-talked about #EndSARS protests, the 20-year old reaches for depth. "Gunshot no let me meditate, hypertension full all the place", he sings, echoing the struggle to find inner peace, amidst chaos. - Ajibola Fashola

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It should be getting more attention that 2020 was the year women in all walks of life took the reins on big picture issues. From German and New Zealand Prime Ministers, Angela Merkel and Jacinda Arden, displaying exemplary leadership during the early days of the coronavirus crisis, to Nigeria's Feminist Coalition leading the country into black Africa's most documented civil rights movement in recent history. 2020 will be remembered as the year the girls decided to take matters into their own hands, and decidedly because it appeared the boys had run out of answers (Yes, we mean the Boris Johnsons, Donald Trumps and Muhamammdu Buharis of this world). Despite these strides that should tilt us into a more gender-balanced world, it cannot be understated that we still live in a largely conservative global village, where women still get the short end of the stick, especially as it relates to censorship of self-expression and public acceptance of feminine ideals. In this sexist obscurity, enter Megan The Stallion, a breakthrough music voice of 2020, whose unapologetic embrace of post-modern womanhood, upturned conventional expectations of femininity. Stallion's foot-hold on the rap game kept us entertained during the lockdowns through viral dance challenges and tightly-woven rap verses about turning tricks to get paid. True to her ethos, "Freaky Girls", off her latest album Good News thrives as a defiant ode to women who are unafraid to be sexually adventurous. The fast-paced hook helmed by TDE's SZA, is reminiscent of a sleek flow that would have easily fit on a track from the 2000s, only you may have heard a male rapper's voice on the verses. But this pop banger is mostly floated through Megan The Stallion's unshakable charisma. After what has been a nightmare year for literally everyone, there is no greater resolute satisfaction like knowing women will come out on top as the world begins to return to a semblance of normalcy. - Toye


Stream our top 50 picks of the best music released in 2020 via Apple Music below:

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