Afrobeats has always been about the future. For years, the genre focused on pushing boundaries, growing from a local sound in Nigeria to a global force, played on stages in Agege, Lagos, to the 02 arena in London and different arenas around the world.
Today, something different is happening. A new generation of Afrobeats stars is beginning to look back, honouring the people who shaped the sound and style of the genre. In 2024 and 2025, several songs have been released as tributes to key figures in the music industry, showing that Afrobeats is about remembering where it all began.
In 2024, Ayra Starr released “Jazzy’s Song” on her sophomore album, “The Year I Turned 21”. It’s a groovy, club-ready track with enough bounce to soundtrack a summer night out, but underneath the beat lies a strong message of respect.
Ayra pays homage to her label boss, Don Jazzy, by interpolating the iconic intro from Wande Coal’s 2009 hit “You Bad”, a song Don Jazzy produced during his Mo’Hits golden era. By doing this, Ayra bridges two eras: the sound that defined the late 2000s, and the new generation of Afropop she now leads. It’s subtle, but it’s a powerful way to honour him through melody by connecting her breakout success with the roots of modern Afrobeats.
On Fireboy DML’s “Wande’s Bop”, off his Adedamola album, the tribute is more direct. Fireboy has never hidden his admiration for Wande Coal, often calling him a major influence. This track makes that admiration loud and clear. Backed by DJ SPINALL, who brings a fresh take to mid-2000s-style percussion and gentle sax, the song blends nostalgia with new-school polish.
It’s a breezy, romantic tune that recalls Wande’s signature style: silky vocals, smooth melodies, and emotional openness. While the production updates the sound for today’s audience, Fireboy’s delivery echoes the man who paved the way for singers like him to experiment with voice and vulnerability in Afropop. Beyond just a tribute track to one of Afropop’s legends, it’s a quiet thank-you wrapped in a bop.
In 2025, the trend continued with “Baddo Song” a track by street-pop newcomer Ayo Maff, featuring Jazzworz and Thukuthela, taken from his recently released debut album “Prince of the Street”.
The song samples Olamide’s “Yemi My Lover”, a fan favourite from the early YBNL days, and uses it as the base for Maff’s own story. Ayo Maff, who, like Olamide, speaks to Nigeria’s street experiences, references Baddo and channels his essence in the song.
The sample acts like a seal of approval. It’s joyful, confident, and familiar. In paying homage to Olamide, Ayo Maff also places himself in a long line of artists who draw strength from local language, lived experience, and raw delivery. It’s a general knowledge that Olamide’s influence is cultural. And with the track, “Baddo Song”, it reflects how deep that influence runs.
Then there’s “Wasiu Ayinde” by Bahd Boi OML, from the “Bhad Boi” Deluxe album. This tribute goes even further back, reaching into Fuji music, a core pillar of Yoruba sound and street identity, which is the backbone of Afrobeats sound. The song celebrates K1 De Ultimate (also known as Wasiu Ayinde), the Fuji legend who helped transform the genre with his Talazo style.
In the lyrics, Bahd Boi OML sings, “Mo wa lagbo Wasiu Ayinde, Ilu mi bi Wasiu Ayinde, Mo le jo bi Wasiu Ayinde, E wa jo talazo wese (Omoge wa jo),” referencing both the artist and his musical movement. To make the tribute even more meaningful, Bahd Boi OML visited Wasiu Ayinde in person and danced with him to the track, a moment he proudly shared recently on Instagram with the caption, “Thank you My Daddy.”
It was a gesture of cultural respect and musical lineage. The joyful energy of the track has since gained momentum on TikTok and other platforms, pulling a new generation into the world of Fuji through the lens of Afropop.
Why are we seeing more tribute songs in Afrobeats now?
One reason is that Afrobeats is growing up. The genre is now over two decades old, and many of its pioneers are still active today. Artists like Don Jazzy, Wande Coal, Olamide, and K1 have become icons, not just for their music, but for the paths they’ve cleared for others. As the younger generation gains fame, they’re starting to reflect on the people who made it possible for them to be where they are. Tribute songs are a way of giving flowers while the legends are still here to receive them.
Another reason is the global rise of Afrobeats. As the genre gains more attention internationally, artists may feel a greater need to define their roots and tell their own stories. Instead of waiting for music historians or foreign media to write the genre’s history, Nigerian artists are doing it themselves, through their songs. These tributes help to create a timeline, showing who influenced whom and what styles have been passed down.
These songs also serve as a form of respect. In an industry that can often feel like a race, it’s powerful to see young artists pause and acknowledge the giants before them. It sends a message that success didn’t start with them and that greatness can be shared.
But it’s not just about paying respect. These tracks also help the younger artists shape their own identities. By linking themselves to legends, they’re claiming their place in Afrobeats history. In simple language, it means that Ayra Starr is saying, “I’m part of the Mavin story.” Fireboy says, “Wande is my blueprint.” Ayo Maff says, “I am the next voice of the streets.” Bahd Boi OML says, “I understand the culture beyond Afrobeats.”
As more artists release songs like these, Afrobeats becomes more than just a trending genre. It becomes something built on stories, relationships, and memory. Tribute songs help keep the culture alive, reminding fans of the roots while also giving them new reasons to dance.
In a way, these artists are doing what journalists, historians, and critics often do, but with music. They’re telling us who matters, who paved the way, and who’s next. And maybe that’s what makes Afrobeats so special: it knows how to celebrate the present while honouring the past.
