A*POP remains an enjoyable listen throughout, but while its highest peaks are genuinely exhilarating, the journey between them occasionally meanders rather than continually raising the stakes.
By Yinoluwa Olowofoyeku
Few artistes have experienced a rise as meteoric as Tyla’s. Before “Water” transformed her into a global phenomenon in 2023, the Johannesburg-born singer was a promising newcomer navigating South Africa’s vibrant music scene with ambitions that extended far beyond its borders. The song’s runaway success not only dominated charts and social media but also earned her the first-ever Grammy Award for Best African Music Performance, propelling her onto the world’s biggest stages alongside established stars such as Davido, Burna Boy and Chris Brown.
What followed was a whirlwind of international touring, festival appearances including Coachella, and a performance at the FIFA Club World Cup final, all while her self-titled debut album introduced audiences to a distinctive fusion of Amapiano, Pop and R&B. Yet despite becoming one of African music’s most recognisable new faces, Tyla has consistently resisted being reduced to the viral success that launched her career, instead using every subsequent release to further define an artistic identity rooted first and foremost in her South African heritage.
That journey naturally culminates in A*POP, an album born not from the uncertainty of a breakthrough artist but from the confidence of one who has already proven she belongs on the global stage. Having described herself as far more assured than when she first entered the industry, Tyla approaches her sophomore record with a clearer sense of purpose, presenting it as an extension of what an African Pop star can look and sound like.
The title itself functions as both a mission statement and a subtle challenge to narrow expectations, reaffirming her belief that African music should not be confined to a single sonic identity. Rather than chasing the formula that made her famous, A*POP expands its palette while remaining firmly connected to home, drawing heavily from South African collaborators and influences even as it embraces contemporary Pop’s global language.
In doing so, the album positions Tyla not simply as an artist crossing over into international markets, but as one confidently redefining the space African Pop occupies within them.
Opening A*POP, “Is It Love” immediately establishes the album’s vibrant sonic identity through a striking blend of Rock and Pop influences. Sharp electric guitar riffs cut through the introduction before piercing vocals give way to a beat drop where Afrofusion-inspired drums, booming 808 bass and gated guitar textures collide, with bright synth accents reinforcing the chorus without overwhelming its raw energy. The production briefly pulls back during the second verse, filtering much of the instrumental to allow Tyla’s sweeter vocal tone and agile melodies to take centre stage before swelling once more into its soaring refrain, capped by a memorable falsetto flourish.
That constant push and pull mirrors the song’s romantic uncertainty as she questions whether passion alone is enough, repeatedly asking, “Is it love? Is it love if you don’t cry, cry, cry? / Don’t mean shit if I don’t see tears in those eyes”, before revealing a desire for something more emotionally sustaining with the heartfelt admission, “I need somebody that’s gon’ water my roots”. It is an exhilarating opener that balances forceful production with genuine vulnerability.
“That Girl” quickly shifts gears, drawing heavily from Dancehall’s infectious rhythmic swagger. Syncopated drum patterns, chopped vocal samples and nimble synth arpeggios glide across weighty 808 kicks to establish an irresistibly kinetic groove, while Tyla adopts a clipped, staccato delivery laced with subtle Patois inflections that comfortably inhabits the genre’s stylistic language.
Reverb-treated group vocals widen the song’s vocal palette before the chorus arrives with the repeated proclamation, “Who’s that girl? I’m ‘bout to make a purchase / I’m talkin’ diamonds, watches, purses”, evoking the same glamorous bravado popularised by Eve’s 2001 single “Who’s That Girl?”.
Throughout the track, Tyla revels in unapologetic confidence, casually boasting, “Give that girl a Maybach with the curtains / Put on that shit to make ‘em nervous”, while sparse sung passages temper the grit of her half-sung, half-spoken cadence, creating an engaging balance between swagger and seduction.
“Kiss” effortlessly transitions from island influences into sleek club-ready Electropop. Brash synthesiser stabs introduce the record before the arrangement softens into shimmering Pop textures driven by four-on-the-floor kicks, Afro-leaning rhythmic syncopation, spacious plucked arpeggios and rich bass synthesisers. The production continually oscillates between tension and release, expanding into an ethereal bridge built around floating pads and Tyla’s airy, breathy vocals before crashing into a grungier chorus reinforced by distorted Dance synths and trance-like vocal effects.
Matching that fluid musical movement is a romance portrayed as instinctive and uncomplicated. Tyla dismisses hesitation with “It’s not complicated, so don’t overthink it, come and relieve me”, later inviting complete intimacy while the euphoric refrain, “Every time you kiss my lips, I get déjà vu, I’m reminded”, beautifully complements the cyclical emotional highs that define the song’s expertly crafted Electropop execution.
Previously released as one of the earliest previews of A*POP, “Is It” remains one of the album’s most immediately infectious moments. Thumping drums, chopped vocal samples and heavy bass establish a propulsive foundation beneath Tyla’s energetic, rapid-fire opening cadence, where rhythm and attitude take precedence over elaborate melodic phrasing. As the chorus arrives, however, she returns to the brighter vocal tone that has become her trademark, with layered group harmonies expanding both its melodic and emotional impact.
Beneath its playful exterior lies the familiar uncertainty of irresistible attraction, as Tyla repeatedly interrogates the source of her fascination, wondering, “Is it the fucks that I don’t give? / Is it the men that I don’t miss?” before her curiosity evolves into vivid fantasies of intimacy through “That got me thinking things like this / Like what it’s like when you take me home / And what it’s like when you take it off”. The simplicity of its melodic writing ultimately strengthens the record, allowing its irresistible groove and memorable hook to remain firmly at the forefront.
Following the relentless momentum of the opening stretch, “Fairytale” deliberately slows the album’s pace with a surprisingly restrained Pop ballad. Incessant staccato synth chords recall the polished sheen of mid-2010s Pop, while sparse four-on-the-floor kicks and delicate hi-hats leave generous space for Tyla’s soft, breathy melodies. Her vocals occasionally sit lower within the mix than expected, although the understated presentation appears entirely intentional, with warm pads gradually enveloping the chorus without disturbing the song’s gentle atmosphere.
Here, Tyla abandons flirtation for wholehearted devotion, confessing, “Baby boy, I love you, I really, really love you… / And I know that we’ve had issues, but darling, I do miss you”, before extending the heartfelt promise, “Can I be your fairytale? / Promise I will love you well”. South African House duo Liquideep, whose catalogue helped define a formative era of the country’s Dance music, arrive on the second verse to provide a complementary perspective, responding with equal conviction as they affirm, “Now we’ve both endured the pressure, we’ve endured the heartache… / If this is what I have to do in order to have you / I would do it all again”.
While one of the album’s simpler compositions and not among its strongest moments, it nevertheless provides an effective pause for reflection within A*POP’s sequencing.
“Double Blind” immediately restores rhythmic momentum while retaining the intimacy established by its predecessor. Crunchy snares, sizzling hi-hats and tightly syncopated percussion sit alongside rolling toms and gritty bass to create a spacious yet impactful backdrop, leaving ample room for Tyla’s bright, controlled vocal performance to carry the song.
Rather than dramatically reshaping the arrangement, the production evolves patiently as subtle guitar textures and dreamy backing harmonies gradually enter before fuller group vocals lift the chorus. The sparse, almost throwback R&B aesthetic perfectly complements lyrics rooted in complete emotional surrender, with Tyla willingly embracing uncertainty through “I don’t wanna fall, but tell me, would you jump from here? / I’m ready to dive”, before relinquishing control altogether in “Following your orders, show me what you want from me”. The restraint shown throughout the instrumental allows those sentiments to resonate naturally, making vocal expression the undeniable focal point.
“Feel Something” opens with a filtered, Jazz-inflected vinyl sample before abruptly launching into an exhilarating barrage of double-time Hyperpop percussion, pulsating 808 kicks, choppy rhythmic programming and crisp rimshots. Against the relentless pace of the instrumental, Tyla deliberately slows her vocal phrasing, stretching sustained upper-register notes and fluid melodic runs across the frenetic production with a sultry R&B delivery that never feels rushed.
That contrast becomes the song’s defining characteristic, reinforcing its central desire for deeper emotional and physical connection. Her repeated plea, “Make me feel something, oh / I wanna feel it, yeah”, anchors the entire record, while more intimate invitations such as “Come on, let our bodies do the talking” and “Use your hands, call it sign language” deepen its sensual atmosphere without sacrificing emotional sincerity.
“Right Now” settles fully into sultry R&B territory, opening with the infectious pitched-down male vocal chant, “Don’t stop, get it, get it”, before hard-hitting kicks and crisp rimshots fall in. Growling bass synthesisers and swelling pad chords gradually fill out the sparse instrumental as Tyla alternates between bright upper-register melodies and breathier lower-register passages, leaning confidently into the song’s seductive atmosphere.
Her performance captures the impatience of rekindled attraction, repeatedly urging her love interest to stop avoiding the obvious. As she insists, “Say it now, say it now / I know that you miss me, but you play it down”, the song’s flirtation becomes increasingly direct before culminating in the impulsive invitation, “What you doin’ right now? / I just wanna lay in the bed we made / We ain’t gotta talk about yesterday”. The restrained production gives her vocal performance ample room to breathe, allowing its playful sensuality to remain the focal point throughout.
“Mr. Nonchalant” keeps the flirtation alive while introducing a more rhythmically driven palette. Heavily syncopated drums, flammed snare hits, wooden percussion and an Afro Clave-inspired groove immediately evoke the playful bounce of Beyoncé’s “Get Me Bodied”, while pounding kicks anchor the track’s infectious momentum. Tyla adopts a confident, almost confrontational cadence as she teases an emotionally guarded love interest, her smooth vocal delivery comfortably balancing flirtation with quiet self-assurance. That confidence is reflected in lines such as “Hey, Mr. Nonchalant / I like your eyes ‘cause they match my thong”, before she cheekily dismantles his composure with “Probably got you thinking all kinds of things / Like what it looks like whenever the jeans come off”. Midway through, pulsing synth bass and repeating string ostinatos periodically colour the arrangement before giving way to fully sung passages and whispered call-and-response vocals assisted by a male counterpart, adding fresh melodic texture to an otherwise rhythm-first production.
One of A*POP’s pre-release singles, “She Did It Again” pairs bright Afro-Pop sensibilities with witty, self-assured songwriting. Sharp snares dance across tightly syncopated percussion and thumping kicks as soft plucked synth chords shift intriguingly between minor and major tonalities above a gritty bass foundation. Tyla responds with agile melodies and straightforward vocal phrasing that emphasise catchiness over vocal acrobatics, while the playful chorus is elevated by a memorable call-and-response centred around the high-pitched refrain, “I know deep down, you want me, I know you do”.
The song’s playful confidence extends into its lyricism, with Tyla cheekily declaring, “A blessing, a lesson you don’t need to learn / When you’re playing with fire, you’re begging to find out the hard way”. Swedish Pop star Zara Larsson seamlessly joins on the second verse, mirroring Tyla’s breezy delivery while adding an international perspective to the flirtatious exchange, making for one of the album’s brightest collaborative moments.
As the album’s lead single, “Chanel” makes an immediate case for itself as one of A*POP’s defining moments. Wasting no time, it opens directly on its irresistibly catchy chorus as clap-heavy syncopation, layered percussion, understated electric piano chords, pulsating sub-bass and subtle Log Drum textures establish an effortlessly infectious groove. The pre-chorus sees Tyla alternate between warm mid-register melodies and soaring falsetto responses before the second verse injects fresh momentum through lower-register, half-rapped bursts that are quickly contrasted by smooth upper-register singing and flowing melodic phrases.
Canadian R&B mainstay PARTYNEXTDOOR lends his unmistakably laid-back presence to the chorus, complementing Tyla’s confidence as the pair repeatedly demand, “Put her in Chanel / How you say you love me? You ain’t put me in Chanel”, transforming luxury into a playful benchmark for affection. Its instantly memorable hook, vibrant rhythmic drive and effortless chemistry make “Chanel” one of the strongest contenders for the album’s standout hit.
“Crazy of Me” introduces a softer emotional palette through dreamy guitar strums and a simple two-chord progression that unfolds over restrained 808 kicks. Gentle triplet claps and understated percussion quietly infuse the production with Afro influences as Tyla’s spacious, effect-laden vocal performance drifts almost freely above the instrumental, its upper-register melodies prioritising atmosphere over rhythmic precision.
Beneath the dreamy presentation lies a moment of personal reflection, with Tyla admitting, “I’ma forget sometimes, I need a reminder / Wish somebody told me sooner”, before promising growth through “Say you’ll never get it ‘til it’s gone / Please, forgive me, I’ll be careful”. Repeated cries of “Yebo” further reinforce the song’s South African identity before acclaimed vocalist MaWhoo enters with a Zulu refrain, grounding the record even more firmly in home as fuller snares and steadier kicks gradually cement its Afro-inspired sonic language.
“I Don’t Care” confidently fuses Afrohouse rhythms with polished Dance Pop songwriting. Filtered four-on-the-floor kicks, rattling shakers and crisp percussive accents immediately establish the groove before Babalwa M’s soothing opening in isiXhosa roots the song firmly within South African musical traditions. Tyla responds with strong, uncomplicated melodies that glide over bright piano accents and sweeping filtered chords, occasionally accelerating into rapid-fire lyrical passages before returning to smoother melodic phrasing supported by subtle harmonies and backing vocals.
Her message is equally direct, dismissing a former lover’s lingering attachment with the repeated refrain, “No, I don’t, you know I / No, I don’t / You thought I’d still care”, while later driving the point home through “We’re so in the past tense / They don’t even like you”. The result is a seamless marriage of Afrohouse textures and contemporary Dance Pop accessibility.
Closing A*POP, “Hot Tubs” opts for understated sensuality rather than a grand finale. Bright chromatic synth chords shimmer above sparse percussion as Tyla’s airy upper-register vocals float effortlessly across thumping 808 kicks and softly insistent Amapiano-coded snares, creating an intimate R&B atmosphere despite the rhythmic pulse beneath. Gradually, gated saw synthesisers, bright vocal chops and additional synth textures enrich the chorus without disturbing the song’s spacious presentation, while pitched-down vocals in the outro bring the album full circle.
Lyrically, Tyla shrugs off unnecessary drama with disarming ease, insisting, “Shit is not that deep, no apologies / I think you read me all wrong”, before reducing her desires to the carefree simplicity of “All I want is hot tubs, drunk love / Funds, huzz, ones”. It is a fittingly relaxed conclusion that leaves A*POP on a note of soft desire for uncomplicated pleasure.
Ultimately, A*POP proves to be a surprisingly difficult album to evaluate, leaving behind a number of conflicting impressions. Commercially, there is little doubt that it will succeed, with Tyla’s rapidly growing pedigree and global profile already placing the project on a pedestal few of her contemporaries can currently reach. Thematically, too, it largely accomplishes what it sets out to do.
Rather than allowing herself to be confined to conventional Afro-Pop expectations, Tyla presents herself as a student of Pop music in its broadest sense, comfortably navigating contemporary Pop, R&B and a variety of global influences while borrowing ideas from different eras, artists and stylistic traditions.
Throughout A*POP, those influences are blended together with impressive ease, often inserting elements of one genre into another without sounding forced. Yet while the album successfully argues that an African Pop star need not sound a particular way to validate their identity, it is difficult to ignore how African sonic elements often feel more like subtle embellishments than substantive pillars of the music itself. There is no interest here in policing what constitutes “African enough”, particularly as the album’s intention appears to be creating a varied Pop and R&B record rather than an overtly African one. On those terms, A*POP undoubtedly succeeds.
Much of that stylistic versatility stems from the production, which becomes one of the album’s greatest strengths while simultaneously revealing one of its biggest limitations. Across much of the record, the arrangements adhere to a remarkably consistent blueprint, with sparse melodic layers built around simple chord progressions or one or two instrumental arpeggios resting above 808 basslines.
Genre-defining drum patterns establish each song’s stylistic identity, while filtered melodic textures and restrained percussion leave generous space for Tyla’s vocals before one or two additional layers arrive to elevate the chorus. That framework proves remarkably adaptable, comfortably accommodating the Dancehall flavour of “That Girl”, the sleek Electropop of “Kiss”, the R&B intimacy of “Right Now” and the Afrohouse pulse of “I Don’t Care”, among others. However, because the underlying construction changes so little from song to song, the production rarely surprises across the album’s runtime.
It remains technically exceptional throughout, with immaculate engineering, polished vocal processing and world-class mixing complemented by thoughtful touches such as inventive syncopation and the occasional modulating chord progression. Even so, those moments seldom evolve into truly unforgettable musical statements, instead providing consistently sturdy foundations for Tyla’s performances.
Fortunately, those performances rarely disappoint. As the clear focal point of A*POP, Tyla delivers with remarkable consistency, showcasing a vocal identity that is now firmly established while demonstrating impressive range, versatility and technical control. Her ability to shift seamlessly between vocal styles ultimately becomes one of the album’s defining qualities. The confident swagger she adopts on Dancehall-inspired cuts feels entirely distinct from the softer intimacy of the R&B material or the brighter immediacy of its Pop moments, with each stylistic pivot revealing another facet of her artistry.
Bravado, sensuality, tenderness and carefree party-girl charisma all find space to flourish, making it difficult to imagine an artist with a less adaptable voice successfully navigating such a stylistically varied tracklist. Yet even here, A*POP often opts for the safer route. That restraint is hardly unusual for a major Pop release, but it does leave much of the songwriting operating at a relatively surface level. Even the slower R&B cuts rarely move beyond themes of lust, attraction and affection, while the Pop songs prioritise instantly memorable hooks, repeated lyrical motifs and concise songwriting built around textbook Pop structures complete with bridges, refrains and earworm choruses. The formula is unmistakable, but it is also executed with an extremely high degree of polish.
Perhaps that same commitment to the formula is what ultimately tempers the album’s personal impact. Having established its approach early, A*POP rarely strays far from it, even when opportunities for greater variety present themselves. Guest appearances, often one of the easiest ways to introduce new perspectives or unexpected creative turns, instead remain relatively restrained.
Every featured artiste delivers a strong vocal performance, yet most simply mirror Tyla’s melodic ideas or occupy supporting roles on refrains, outros and secondary passages, as seen with MaWhoo and Babalwa M. As a result, even the album’s exploration of South African languages is largely confined to the edges of songs rather than becoming a more central creative force, an unusual choice given both Tyla’s artistic mission and identity.
Consequently, despite containing several undeniable global hits and consistently polished production, the album begins to sag slightly through its middle stretch, its generous runtime allowing the formula to become increasingly apparent. Smooth production, excellent singing and plenty of catchy songwriting ensure that A*POP remains an enjoyable listen throughout, but while its highest peaks are genuinely exhilarating, the journey between them occasionally meanders rather than continually raising the stakes.
Lyricism – 1.5
Tracklisting – 1.6
Sound Engineering – 1.6
Vocalisation – 1.6
Listening Experience – 1.4
Rating – 7.7/10
Yinoluwa “Yinoluu” Olowofoyeku is a multi-disciplinary artist and creative who finds expression in various media. His music can be found across all platforms and he welcomes interaction on his social media @Yinoluu.