In 2026, a new wave of Afrobeats songs quietly crosses an important milestone. Ten years since they first reshaped the sound, reach, and global perception of African music. Released in 2016, these records arrived in rapid succession, producing hits that dominated clubs, radio, street playlists, and house parties across the continent. What once lived primarily in local spaces has since grown into a worldwide movement, influencing pop, hip-hop, dancehall, and R&B across continents.
These songs weren’t just hits in their moment; they became cultural timestamps, soundtracking nights out, personal breakthroughs, and the early chapters of Afrobeats’ global expansion. A decade later, these classics stand as proof of a pivotal era when African artists weren’t just making music for home audiences, but consciously shaping sounds that could travel, resonate, and compete on the world stage, laying the foundation for the genre’s current global dominance.
Wizkid – ‘Daddy Yo’
“Daddy Yo” by Wizkid stands as a monumental pillar that signaled the official start of the “Afrobeats to the World” transition. Released in late December 2016, the track served as a strategic bridge between Starboy’s local Nigerian roots and his emerging status as a global pop icon under his major-label deal with RCA Records. By the time it reaches its tenth anniversary in 2026, it will be remembered as the lead single for his Sounds from the Other Side project—an album that dared to experiment with a more polished, international sheen than his previous works.
The track was a sonic departure from the high-energy percussion that dominated Lagos dancefloors at the time, opting instead for a mid-tempo, reggaeton-infused rhythm. Produced by Brooklyn’s Dre Skull, a maestro of the Caribbean dancehall scene, the song masterfully blended West African flair with West Indian grooves. This synergy was perfectly complemented by the uncredited but essential vocals of Ghanaian songstress Efya, whose hypnotic hook—“Wizzy boy, make me dance… Daddy Yo, make me dance”—became the track’s most infectious element.
Beyond its commercial success, the cultural impact of “Daddy Yo” was cemented by its high-gloss music video, directed by legendary Canadian Filmaker Director X. The visuals, featuring neon aesthetics and a cameo from Ty Dolla $ign, showcased a new version of Wizkid that felt at home on global music channels like MTV and BET. Although the experimental “Afro-fusion” sound initially drew mixed reactions from purists, the song’s dominance on radio charts across Africa and its introduction of the “Daddy Yo” moniker proved that Wizkid was ahead of his time, setting the stage for the global dominance that Afrobeats enjoys today.
Tekno – ‘Pana’
If any single track defines the sonic architecture of the mid-2010s, it is undoubtedly Tekno’s “Pana.” Produced by Krizbeatz, “Pana” birthed the “Pon Pon” sound—a distinctive 100-BPM rhythm characterized by its hollow, syncopated drum patterns and airy melodies. As it marks its ten-year milestone in 2026, the track remains a masterclass in how simplicity can dominate an industry, proving that a song doesn’t need to be loud to be powerful.
The brilliance of “Pana” lay in Tekno’s ability to blend catchy, almost nursery-rhyme-like lyricism with a sophisticated groove. Lines like “Folake give me love o” and his playful references to “fajaba” and “Gwagwalada” became instant vernacular across the continent, cementing Tekno’s reputation as the “Golden Boy” of Afrobeats. The music video further amplified its success, showcasing a colorful, edgy aesthetic that matched the song’s quirky energy, eventually helping it become one of the most-viewed Nigerian music videos of its era. Beyond its own chart-topping success, “Pana” acted as a catalyst for the industry, influencing the production style of subsequent hits like Davido’s “If” and solidifying Tekno’s legacy as one of the most influential producers and artists of the decade.
Phyno featuring Olamide – ‘Fada Fada’
Regarded as the “Ghetto Gospel” anthem of its time, Phyno’s “Fada Fada” featuring Olamide remains one of the most significant cultural crossovers in the history of Nigerian music. Released in May 2016 as the third single from his sophomore album The Playmaker, the track saw Phyno temporarily trade his signature gritty Igbo rap for a vibrant, highlife-infused prayer that resonated far beyond the streets of the East. Produced by the legendary Masterkraft, the song’s creation was remarkably spontaneous; Olamide reportedly recorded his verse first after being inspired by the beat on the spot, with Phyno following to complete the track in just a few hours. By 2026, a decade since its debut, the song stands as a blueprint for “Street-Pop” that successfully bridged the gap between secular revelry and religious thanksgiving.
“Fada Fada” masterfully blends “gyration” rhythms—a style of music typically associated with palm wine joints and university social clubs—with the soulful, celebratory essence of church music. This unique fusion allowed the song to travel an unprecedented path, becoming a staple in nightclubs and wedding receptions while simultaneously being performed as a genuine thanksgiving hymn in various churches across Nigeria. Its dominance was undeniable; it spent ten consecutive weeks at the number-one spot on Nigerian radio charts and was crowned Song of the Year at the 11th Headies. As we look back ten years later, “Fada Fada” is more than just a hit; it is a testament to the undeniable chemistry between Phyno and Olamide and a defining moment when indigenous language music reached its absolute commercial peak.
Runtown – ‘Mad Over You’
When Runtown released “Mad Over You” in November 2016, he didn’t just release a hit; he sparked a sonic movement that would come to define the “Ghana-Nia” fusion era. At a time when the artist was embroiled in a publicized legal battle with his former record label, he managed to cut through the noise with a record that felt like a breath of fresh air. Produced by Del B, the track masterfully blended Nigerian lyricism with the mellow, rhythmic bounce of Ghanaian Highlife.
The song’s success was nothing short of meteoric, transcending borders to become a pan-African anthem and one of the most covered Afrobeats songs of the decade. Its signature saxophone riff and the iconic line “That Ghana girl with the Melanin” resonated globally, eventually earning the track a spot on the Billboard Twitter Top Tracks chart—a rare feat for a solo African artist at the time. Beyond the charts, the music video’s celebration of African fashion and aesthetics helped set a new visual standard for the genre. A decade later, “Mad Over You” remains a timeless classic, representing the moment Runtown solidified his place as a pioneer of the melodic, mid-tempo sound that paved the way for the global acceptance of modern Afrobeats
Maleek Berry – ‘Kontrol’
Maleek Berry’s “Kontrol” stands as a definitive anthem of the “summer of 2016,” marking the moment one of the industry’s most sought-after producers successfully stepped into the spotlight as a frontline artist. While Maleek Berry had already cemented his legacy by producing hits for the likes of Wizkid and Davido, “Kontrol” served as his grand personal manifesto, released on his birthday in August 2016. By 2026, it will be remembered for its role in popularizing a lush, melodic, and “sun-soaked” strain of Afropop that blended the rhythmic bounce of Lagos with the sleek sensibilities of the UK R&B scene.
The track was the lead single from his debut EP, Last Daze of Summer, a project that remains a benchmark for cohesive production in the genre. Self-produced by Maleek himself, the song’s signature “Berry’s Room” sound—characterized by airy synths, a hypnotic “low-wind” rhythm, and effortless vocal delivery—provided a more sensual alternative to the heavier club tracks of that year. The visual for “Kontrol,” directed by Meji Alabi, further amplified its impact, featuring a vibrant, color-blocked aesthetic that perfectly captured the “Afro-cool” movement. Reaching over 100 million views on YouTube and earning a BPI Silver certification in the UK, the song didn’t just top charts; it defined a lifestyle, proving that Maleek Berry was just as potent a performer as he was a producer.
Patoranking ft. Sarkodie – No Kissing Baby
Patoranking’s “No Kissing Baby” featuring Sarkodie is a brilliant example of the cross-border synergy that propelled Afrobeats into its golden era. Released in June 2016 as a lead single for his debut studio album, God Over Everything, the track masterfully blended Nigerian dancehall flair with Ghanaian rap excellence. Produced by GospelOnDeBeatz, the song leaned heavily into a 90s-inspired, “skanking” dancehall rhythm that felt both nostalgic and fresh. By 2026, it will be celebrated as one of the most successful collaborations between the two West African giants, symbolizing a time when the “Jollof Wars” were fought only on Twitter, while the music was building a unified continental sound.
The track’s success was driven by its catchy, boundary-setting hook and the seamless chemistry between Patoranking’s melodic patios and Sarkodie’s rapid-fire Twi flow. Beyond the audio, the music video—directed by Daps—became a cultural talking point for its vibrant, “retro-throwback” aesthetic, featuring vintage cars and colorful fashion that mirrored the fun, upbeat energy of the song. “No Kissing Baby” didn’t just dominate radio airplay; it proved that Patoranking’s “Afro-Dancehall” style had massive pop appeal, helping his debut album reach number four on the Billboard Reggae Albums chart—a historic first for a Nigerian artist. A decade later, the song remains a staple in playlists across Africa, a testament to the power of high-quality collaboration and the infectious nature of a well-crafted groove.
P Square – ‘Bank Alert’
P-Square’s “Bank Alert” remains a pivotal moment in Afrobeats history, not just for its infectious melody, but for what it represented: a temporary truce and a “grand comeback” for Nigeria’s most iconic duo. Released in September 2016, the track arrived after months of public turbulence and rumors of a permanent split between the twin brothers, Peter and Paul Okoye. By 2026, it will be marked as a ten-year milestone for a song that successfully recaptured the hearts of a continent, reminding the world why the P-Square brand had dominated African music for over a decade.
The song itself is a masterful blend of “Neo-Highlife” and pop, built on light, shimmering guitar lines and a shuffling beat that invited everyone to the dance floor. In a nostalgic nod to Nigerian music royalty, the track samples the classic “Iyogogo” by the legendary Onyeka Onwenu, who also made a heartwarming cameo in the music video as a mother figure. Produced by Peter Okoye (Mr. P) and directed by Clarence Peters and Jude Okoye, the video featured a star-studded cast including Phyno and the late comic legend Mr. Ibu, portraying a “rags-to-riches” story that resonated with the everyday listener’s aspirations for success and financial breakthrough.
Despite mixed reviews from critics who initially called it “formulaic,” the public response was overwhelming. “Bank Alert” garnered over one million views on YouTube within just five days of its release—a massive feat for the era—and quickly became the most viewed Nigerian music video of 2016. It turned the phrase “Bank Alert” into a ubiquitous slang for prosperity and became a staple at weddings and celebrations across West Africa. As we look back ten years later, the song serves as a reminder of the duo’s unparalleled ability to create pan-African anthems that bridge generations and cultures, cementing their legacy as the kings of African pop.
Reekado Banks – “Oluwa Ni”
Reekado Banks’ “Oluwa Ni” stands as a definitive anthem of 2016, marking a triumphant moment for the Mavin Records star following his highly debated “Next Rated” win at the Headies just months prior. Released in January 2016, the track served as a defiant and soulful response to the critics, with the title itself—which translates to “It is of God”—acting as a testimony to his rising success. By 2026, it will be celebrated as a ten-year milestone for a song that perfectly balanced the spirituality of “Ghetto Gospel” with the high-gloss production that defines the Mavin era.
Produced by the legendary Altims, the song features a rich, orchestral-style arrangement with soaring violins and a steady, rhythmic bounce that gives it a grand, cinematic feel. Reekado’s smooth vocal delivery and relatable lyrics about divine favor and overcoming adversity struck a chord with a wide audience, making it an instant staple on the radio and in churches alike. The music video, shot by Clarence Peters, further amplified the song’s “grass-to-grace” narrative, showcasing the vibrant energy of the Lagos streets while framing Reekado as a relatable champion of the people.
A decade later, “Oluwa Ni” remains a cornerstone of Reekado Banks’ discography and a highlight of his debut album, Spotlight. It was more than just a hit; it was a cultural statement that solidified his place among the Afrobeats elite and demonstrated the power of a “thanksgiving” record to dominate the pop charts. As we look back on the hits of 2016, this track serves as a reminder of a period when Afrobeats was finding a unique way to merge personal faith with mainstream danceability.
Korede Bello- ‘Do Like That’
Korede Bello’s “Do Like That” remains one of the most commercially significant exports of the 2016 Afrobeats era, representing the moment the “Mavin Mega Superstar” transitioned from a local heartthrob to a global digital powerhouse. Released in September 2016, the track was a departure from the upbeat, gospel-infused “Godwin,” opting instead for a sleek, sensual, and mid-tempo R&B-pop fusion. Produced by the prolific Altims, the song’s signature “plucky” synth melody and hypnotic bassline provided a universal groove that felt just as at home in a London club as it did on a Lagos radio station. By 2026, it will be celebrated not just for its infectious hook but as a pioneer of the viral dance culture that defines the modern music industry.
The song’s trajectory was nothing short of historic. Long before Afrobeats songs were regularly breaking into Western certification boards, “Do Like That” was building a massive digital footprint, eventually earning a Gold Certification from the RIAA in the United States and a similar Gold certification in Canada. This achievement was fueled by a global dance challenge that saw thousands of fans and professional choreographers across the world upload their own routines to YouTube and Instagram. The official music video, directed by Konstantin and shot in London, mirrored this energy with its vibrant, color-blocked aesthetic, helping it become the first video by a Nigerian artist to reach one million likes on YouTube.
The global impact of the track was further solidified when American vocal powerhouse Kelly Rowland joined Korede for an official remix in 2017, bridging the gap between Nigerian Pop and US R&B. A decade later, “Do Like That” stands as a testament to the “Mavin” blueprint of high-quality production and international appeal. It remains a timeless classic that proved Afrobeats could be soft, romantic, and globally competitive all at once, setting a digital standard that paved the way for the next generation of Nigerian superstars.
Mr Eazi – ‘Leg Over’
Mr Eazi’s “Leg Over” is perhaps the most influential example of the “Banku Music” movement that redefined the tempo of African pop in late 2016. Released in December of that year as a lead single for his Life is Eazi, Vol. 1: Accra To Lagos mixtape, the track was a radical departure from the high-energy club music that had previously dominated the continent. Produced by E-Kelly, the song’s minimalist, stripped-back production—relying on a steady, low-frequency kick and a simple, infectious synth melody—forced listeners to slow down and groove. By 2026, it will be remembered as the song that officially “cooled down” the Afrobeats sound, proving that less is often more in hit-making.
The track’s cultural footprint was deepened by Mr Eazi’s unique “dual citizenship” in the music industry, successfully blending the linguistic nuances of Nigeria with the relaxed Highlife rhythms of Ghana. The lyrics, which used the metaphor of “Leg Over” to describe being played in a relationship, became instant slang across West Africa and the UK. The song’s international appeal was undeniable, eventually leading to high-profile remixes featuring Major Lazer, French Montana, and Ty Dolla $ign. The official music video also served as a moment of cultural unity, featuring cameos from fellow industry heavyweights like Wizkid and Maleek Berry, symbolizing the collaborative spirit of the era.
A decade after its release, “Leg Over” remains a masterclass in mood and atmosphere. It didn’t just top charts; it shifted the industry’s focus toward “vibe” and “feel.” As we celebrate its Decade anniversary, the song stands as the definitive anthem of the “Banku” era, marking the moment Mr Eazi turned a minimalist experiment into a global blueprint for the modern African sound.
Comment on a 2016 Afrobeats classic we may have missed, and we’ll update this article 🙂
