When I think of the word "pop star," the person that instantly comes to mind is Hannah Montana. After the early 2000s, there was a decline in the presence of pop icons as the commercial music landscape changed, with streaming platforms and social media slowly eroding the veil of inaccessibility in which pop stars once thrived. Aside from Hannah Montana (still the most iconic), there is another name that resonates clearly – Britney Spears. Though my preference for the former is personal, I believe both exemplify the nostalgic presence with which the term "pop star" is undeniably linked. Tumultuous personal lives, undeniable talent, and incredible outfits marked the childhood and teenage years of many, including my own, through the presence of these pop sensations. In current times, Taylor Swift has emulated a similar presence, with Sabrina Carpenter rising slowly in close pursuit.
Despite this, almost two decades after the single most infamous moment in pop memorabilia – when a young Britney Spears was seen shaving her head – we now witness a more subtle shift: the rise of what I would like to term “The African Pop star” (though please do not use this broad term as a licence to view Africa as a country). This shift has been a long time coming, and as African artists have increasingly permeated the global music scene over the past five years, it is no surprise. What becomes more interesting to consider is how well these hybrid stars are able to carry forward the legacy of a concept in pop culture that has largely remained Western and, in most cases, white.
Before we delve into the figures assuming this title, it is important to consider how exactly we arrived here. What do Amapiano, Afrobeats, and Pop have in common, and how have they come to exist in the same space? Firstly, it must be acknowledged that while the West operated in a media space starved of global representation – which, in some cases, perpetuated stereotypes and, more recently, the concept of the “uppity African” – children across Africa, with the help of networks like DSTV, experienced the opposite. This is how a Ghanaian girl living in South Africa would find herself in a blonde wig, playing a fake guitar, and channelling Hannah Montana. As Western media was pushed onto us throughout our childhoods, its characters, music, and style became a solid part of our core memories and, in turn, our identities. To be African and listen to pop music was not a contradiction, and so, to be African and make pop-inspired music became a rite of passage: a blending of different aspects of identity and nostalgia, creating not only good music but music that presents the authenticity of the African experience in a way that was formerly unable to permeate stereotypes.
Enter our two protagonists – Ayra Starr and Tyla.
One thing that stands out about both young women is the conviction of their stardom. It is not a question of *if* they will achieve global domination but rather *when*. Ayra Starr’s career so far is a testament to this. Born in Benin, she lived between Lagos and her birthplace. She was first signed as a model and later discovered by Don Jazzy through an original song she posted on Instagram in 2019. I remember watching a live performance in 2021 of Starr performing an unreleased song at the time (later released as Beggie Beggie), and it was evident from that clip alone that, beyond raw talent, she possessed the unique qualities of a generational star. Fast forward three years, with two highly acclaimed albums and multiple co-signs from fellow African artists, as well as international acts like Kelly Rowland, David Guetta, and Rihanna, and I can confidently say my hunch was correct.
But it is the more subtle aspects of her celebrity persona that have made her impact so clear, especially for young African girls. In 2022, Ayra Starr signed an endorsement deal with Darling Nigeria, a brand known for producing synthetic braiding hair. In comparison with her more recent deals, it may appear small, but this simple move from her PR team solidified their dedication to ensuring that she resonated with the audience she would go on to represent on the global stage. It also shows how strongly she aligns with the factors outlined earlier about what enables one to rise to the level of a pop star. I would liken this to Rihanna, and many other commentators share a similar view. Rihanna’s persona has always maintained a strong cultural connection to her home of Barbados, with her yearly carnival pictures and bold decision not to succumb to accent bias. I firmly believe that this has, in many ways, pushed her personal brand to where it stands today.
It can be very easy for artists to lose sight of their personal brand in the hopes of garnering recognition on a global stage, which is why, in recent times, some major Afrobeats sensations have denounced the genre. But the question is, at what cost? So far, Ayra Starr and her team have shown a strong level of foresight, as the young icon breaks barriers, representing an army of young women who were previously not allowed to go this far. With multiple magazine covers in the last month (for Dazed and Wonderland , respectively), as well as a Maybelline campaign, I do not foresee Ayra Starr slowing down any time soon.
Then we have Tyla, our South African pop princess who seemingly appeared on the scene out of nowhere. For those on the continent, though, Tyla has been on our radar for a while with her song Getting Late ft. Kooldrink, which dropped in 2019. Much like Ayra Starr, Tyla has garnered numerous noteworthy accolades within a short period of time. As I mentioned before, Tyla is very aware of her star quality, and it is evident in her career development over the past year. Her team is hyper-vigilant and conscious of her brand, and it shows.
When Water went viral at the end of 2023, many speculated that Tyla might be a casualty of the dreaded TikTok effect and end up a one-hit wonder. But that’s the funny thing about people who chance upon something good that others have been enjoying for a while – they believe that upon their discovery, scarcity suddenly emerges. For those of us already aware of Tyla’s presence, the idea of her being a one-hit wonder never crossed our minds. From the album rollout that followed, it was clear that Tyla and her team were never waiting for the audience to dictate what they wanted to hear. They were always ready; all they needed was an opportune moment. This foresight has earned her two awards: one Grammy for Best African Music Performance and a VMA for Best Afrobeats Artist (even though she makes amapiano – sorry, I couldn’t let that slip). These recent awards have sparked controversy within the African community, and not without reason.
For both Ayra Starr and Tyla, stepping into the global spotlight is no easy feat, and though the world has seemingly lowered its barriers to access, many obstacles remain. Through no fault of their own, it is undeniable that both young women, in some way, offer the right amount of African-ness without totally destabilising the expected norms for women in global entertainment. Appearance and attractiveness continue to be used as markers of marketability and, in turn, profitability in the music industry. Although it may be uncomfortable, we must ask ourselves whether artists of equal talent but different features – such as larger bodies, darker skin, or more distinctly Afrocentric features – would be allowed to knock on the door, let alone have it opened. That said, Rome wasn’t built in a day, and there is much work to be done to ensure that we retain control over our narrative. As we watch these women trailblaze, it is important that we, as the audience, remain conscious and do not let the global market homogenise our diverse talent because at the end of the day we are the custodians to the culture.
On the upside, the future is bright. We have R&B powerhouse Tems, Fountain Baby the Rockstar, and our two pop princesses, and guess what? They are all African!
Someone said to me a few days ago that tyla was stealing arya's spotlight, I think its so ridiculous how people are constantly pitting these women against each other, even when they are so different and equally talented in their own rights. It is interesting to read a piece that holds space for these two women without making unnecessary comparisons. And the final paragraph was tea.