Amidst the torrent of song releases that birthed viral hits, the continent produced timeless records that have soundtracked a decade of our lives, songs that still move us, define moments, and remind us of where we have been.
By Abioye Damilare Samson
It’s hard to believe that it’s been a full decade since 2016. That realisation has sparked a wave of nostalgia around the world, prompting many since the dawn of 2026 to relive the moments of that transformative year, a sentiment captured in the viral tag “2026 is the new 2016”. For African music lovers, this nostalgia runs especially deep because 2016 marks a watershed moment in African music.
It was a turning point that completely transformed the music’s identity and its projection across the entire continent. One of the year’s defining moments was the historic collaboration between Wizkid and Drake, which birthed the global hit, “One Dance”. This was a moment that shook the continent and signalled a shift in how the world listened to African music, accelerating recognition of the abundant genres emerging from the continent and placing them firmly on the global stage.
Afrobeats, as a genre and a culture, marked a definitive upward swing with the arrival of major record labels and corporations that finally set foot on the ground with offers that linked us with the world of international music to an unprecedented degree. African stars like Alikiba, Davido, and Tekno secured deals with international majors that year, signalling a new phase of institutional investment in African talent. Simultaneously, it was also the year music streaming began to gain significant traction across Africa, democratising access and discovery in unprecedented ways.
Elsewhere, South Africa’s Gqom scene gained prominence, with DJ Maphorisa leading the charge, while the Nigerian music soundscape mellowed into new textures and slowed its tempo, thanks to Mr Eazi’s laid-back Banku sound and the infectious rise of the Pon-Pon sound. Across the continent, 2016 was a pivotal year where African music transitioned from regional success to a powerful global force.
Amidst the torrent of song releases that birthed viral hits, the continent produced timeless records that have soundtracked a decade of our lives, songs that still move us, define moments, and remind us of where we have been. Here are 10 classic African songs turning 10 in 2026.
Mafikizolo — “Kucheza”
Mafikizolo, the South African Afro-Pop group consisting of Theo Kgosinkwe, lead singer Nhlanhla Nciza, and the late Tebogo Madingoane, has maintained a firm grip on South African and African music since becoming an international sensation in 2001. In 2016, the award-winning duo released the mid-tempo love tune, “Kucheza,” produced by DJ Maphorisa and co-written by Tanzanian singer Vanessa Mdee alongside South African R&B/Trap-Soul artiste, KLY.
Nhlanhla and Theo’s vocals form a gentle, intimate chemistry that gives the song its magnetic appeal. Sung in English and Swahili, “Kucheza” is a tender expression of romance and emotional closeness, and it still resonates a decade later.
Mr Eazi — “Leg Over”
In 2016, Mr Eazi took over the scene with his unique fusion of Ghanaian bounces and Highlife with Nigerian melodies, a sound he calls “Banku”. On “Leg Over”, produced by E-Kelly, he rides a gentle, minimalist beat, freshened by delicate guitar lines and the subtle percussive touches of palmwine music.
With digestible lyrics and a catchy, easy-to-learn chorus, “Leg over, my baby gimme leg over ahn ahn / Hang over, e be she dey gimme hang over eh eh / Leg over / My mama give me leg over eh eh / Game over”, Mr Eazi crafted a track that reshaped the soundscape into a more mellow, laid-back texture. Even a decade later, “Leg Over” remains one of Afrobeats’ most refreshing songs that feels strikingly fresh with every listen.
Diamond Platnumz ft. Rayvanny — “Salome”
Diamond Platnumz’s cultural weight within Tanzanian music cannot be overstated. In 2016, he teamed up with Rayvanny to remake “Maria Salome”, the 2001 classic by Tanzanian legend and undisputed queen of East African folk music, Saida Karoli, that carefully preserves the essential elements that made the original so magnetic.
The remake is thoughtfully executed, driven by local percussion and guitar that shape the song’s rhythmic core. “Salome” stands as a classic love song that bridges generations, honours its roots, and reintroduces the song to a new, younger audience.
Runtown — “Mad Over You”
Before 2016, Runtown had already proven himself as an exceptional artiste, particularly with his collaboration with Davido on “Gallardo”, a record that launched him into mainstream consciousness. But his career reached another stratospheric height in 2016 with the release of “Mad Over You”, produced by Del B and T-Spize.
Everything about the song feels deliberate. To quote Ghanaian artiste Amaarae, “Mad Over You” is “the biggest cultural reset in modern African history”. The record is a fluid blend of Afrobeats and Ghanaian highlife, driven by intoxicatingly mellow drum patterns and a whistling keyboard motif layered over a mid-tempo groove that celebrates African beauty and romance.
While it borrows heavily from Ghana’s sonic traditions, its lyrics, rich with cultural references, serve as a love letter to the country: “Ghana girl say she wan marry me / I hope say she sabi cook waakye / Hope your love go sweet pass shito”. A decade on, “Mad Over You” stands as one of 2016’s great time-capsule records, and a masterpiece whose warmth and cultural resonance refuse to fade.
Nyashinski — “Mungu Pekee”
Aside from being one of the biggest songs of 2016 in Kenya, “Mungu Pekee” marked a major milestone in Nyashinski’s solo career. After the disbandment of the popular Kenyan Hip-Hop group Kleptomaniax, which consisted of Nyashinski, Collo, and Roba, he focused on his individual path and returned with this smash hit.
The song captured the four corners of Kenya and East Africa with its fusion of Hip-Hop and catchy Afro-Pop rhythms, enriched by melodic guitar riffs. Beyond its infectious hooks, “Mungu Pekee” stands as an anthem of faith and prayer.
R2bees & Wizkid — “Tonight”
When it comes to musical collaborations between Ghana and Nigeria, the two countries share a long, intertwined history. Yet few partnerships have produced sonic chemistry as effortless as R2bees and Wizkid. Following the massive acceptance and success of their R&B-inspired 2013 single “Slow Down”, the duo raised the stakes with “Tonight”, produced by Legendury Beatz in 2016.
Built on minimalist production and addictive melodies, “Tonight” is a sleek exploration of love and hedonistic desire. R2bees’ verses glide smoothly into Wizkid’s signature sultry vocals, which create a dreamy, late-night atmosphere that remains unforgettable even a decade later.
Saad Lamjarred — “Ghaltana”
On “Ghaltana”, Saad Lamjarred leans fully into his gift for sonic cosmopolitanism, stitching together contemporary Pop, R&B smoothness, and Khaleeji–Maghrebi rhythmic accents into a sound that feels rooted and borderless. The record is buoyed by elastic melodies and propulsive grooves, making it irresistibly dance-ready.
Released alongside a visually striking music video in August 2016, “Ghaltana” thrives as much on spectacle as it does on sound. Saturated colours, sleek choreography, and Lamjarred’s effortless screen presence transform the song into a fully realised Pop moment.
A decade later, “Ghaltana” continues to exemplify the mechanics of modern pop at its most effective: tightly constructed, immaculately produced, and emotionally legible across cultures. Its staggering digital performance, amassing hundreds of millions of views on YouTube, only reinforces its status as a defining entry in his catalogue and a landmark record in contemporary Moroccan Pop.
Tekno — “Pana”
Tekno’s “Pana” is a once-in-a-generation record that perfectly captures the mid-2010s Afro-Pop zeitgeist. Riding the wave of the Pon-Pon sound that dominated the period, Tekno delivers an irresistibly catchy performance. The instrumental, crafted by the ever-brilliant Krizbeatz, is guitar-led and rhythm-forward, anchored by chattering drums and buoyant melodic patterns.
Lyrically, “Pana” thrives on simplicity and wit. Tekno leans into cheeky metaphors and flirtatious promises, deploying humour, most memorably through the now-iconic “cassava” line, as a tool of seduction. Lines about fast cars and indulgent romance complete the song’s carefree fantasy. Years later, “Pana” remains one of Afro-Pop’s most quintessential records: playful, instantly recognisable, and endlessly replayable, a reminder of Tekno at his most intuitive and culturally attuned.
DJ Maphorisa feat. Wizkid and DJ Buckz — “Soweto Baby”
When it comes to cross-border collaboration, South Africa and Nigeria share a rich catalogue of timeless records that have defined key moments in African pop culture. One such song is “Soweto Baby”, produced by DJ Maphorisa, one quarter of South African group Uhuru, which brings together Wizkid and fellow South African DJ Buckz.
Built on a Kwaito-inspired groove, peppered with shimmering electric guitar lines, the production provides an easy bounce for Wizkid’s melodic delivery, which blends seamlessly with DJ Buckz’s contribution. The result is a feel-good, uptempo record that soundtracked clubs, radios, and dance floors across the continent upon its release, and continues to hold its own years later as a defining example of pan-African musical synergy.
Sauti Sol ft. Ali Kiba – “Unconditionally Bae”
Not everyone can craft a hit about the universal struggle of finding love, but Kenyan group Sauti Sol and Tanzanian star Alikiba succeed spectacularly. The two East African heavyweights team up on “Unconditionally Bae”, a groovy, uptempo track that dominated the scene upon its release, accompanied by a dance that quickly became a cultural moment.
Sauti Sol’s soaring, expressive vocals blend seamlessly with Ali Kiba’s earthy, resonant delivery, while the subtle modulation toward the end elevates the song. It is a track that is intimate and celebratory, simultaneously reflective of the challenges of love and irresistibly danceable, cementing its place as one of East Africa’s most enduring cross-border collaborations.
Abioye Damilare Samson is a music journalist and culture writer focused on the African entertainment industry. His works have appeared in Afrocritik, Republic NG, NATIVE Mag, Newlines Magazine, The Nollywood Reporter, Culture Custodian, 49th Street, and more. Connect with him on Twitter and IG: @Dreyschronicle