There’s something undeniably magical about a debut album. It’s an artist’s first true manifesto—a moment when they step into the spotlight and declare, This is who I am. Some debut albums arrive like seismic shifts, instantly altering the trajectory of a genre. Others unfold more subtly, embedding themselves into the cultural fabric until they become the defining sound of an era.
Afrobeats, as a genre, has been shaped by such moments.Think back to 2009, when Wande Coal’s Mushin 2 Mo’Hits dropped. It wasn’t just an album; it was a cultural phenomenon. Before Wande Coal, most mainstream Nigerian artists were either deeply rooted in traditional Fuji and Highlife influences or leaned toward Western R&B and hip-hop aesthetics. But Wande did something different—he fused it all effortlessly, creating a sound that felt both futuristic and deeply Nigerian. Wande Coal delivered a timeless and revolutionary debut project.
With tracks like “You Bad,” “Bumper 2 Bumper,” and “Ololufe”, he set a new gold standard for melody, vocal dexterity, and how R&B and Afrobeats could exist in perfect harmony. Mushin 2 Mo’Hits was a masterclass in melody, lyricism, and production. Wande Coal’s voice became the soundtrack to countless lives, and his influence can still be heard in the Afrobeats stars of today.
Every artist that came after—from Wizkid to Davido to Rema, owes something to Wande Coal. The way he floated over beats, the way he made hooks instantly addictive, the way he balanced street energy with mainstream appeal—it became the formula that Afrobeats still follows today.
Then came 2011, when Wizkid’s Superstar took the baton and ran even further, suddenly, the sound of Lagos had a new global face. “Holla at Your Boy”, “Pakurumo”, “ Don’t Dull”, every track felt like a blueprint for Afrobeats’ future.
Burna Boy’s L.I.F.E in 2013 was gritty, unapologetic, and deeply rooted in African identity, it wasn’t just an album—it was a mission statement. Burna Boy wasn’t chasing trends; he was building a legacy. Songs like “Like to Party” and “Yawa Dey” weren’t just hits; they were declarations of intent, proving that Afrobeats could be both globally appealing and authentically African.
Fast forward to the 2020s, and the genre has continued to evolve. Ayra Starr’s 19 & Dangerous (2021)—a fearless, confident debut that announced the arrival of a bold new voice. From the raw honesty of Beggie Beggie to the rebellious energy of Bloody Samaritan, the album proved that Ayra Starr wasn’t just the next female Afrobeats star—she was in a league of her own. She didn’t just make music, she created a manifesto for a generation of young women unafraid to take up space and own their power.
And then there’s Asake’s Mr. Money With The Vibe (2022) shattered streaming records and redefined Afrobeats’ mainstream potential, blending traditional rhythms with contemporary swagger. Rema’s Rave & Roses (2022) pushed boundaries even further, fusing Afrobeats with trap, pop, and futuristic sounds to create a genre-defying masterpiece. These albums didn’t just introduce artists—they announced the arrival of a new generation, unafraid to experiment and expand the boundaries of what Afrobeats could be.
And then, in 2024, Victony stepped into that legacy with Stubborn.
By then, Victony was no newcomer. Tracks like “Holy Father”, “Apollo”, and “Soweto” had already cemented his place in the Afrobeats pantheon. But Stubborn was different. This wasn’t just about making hits. It was about making a statement. The title itself was telling: Stubborn—a word that might seem defiant in any other context, but here, it was a declaration. A way of saying, I refuse to be boxed in. I refuse to follow trends. I’m making music my way.
And what a way it was. Stubborn showcased Victony’s remarkable versatility, seamlessly transitioning from stripped-down, emotionally raw ballads to high-energy anthems, all while maintaining his signature style. It wasn’t just an album; it was an experience, a journey through the mind of an artist coming into his own.
And like any great album, it wasn’t just something to be heard—it was something to be experienced. If Stubborn introduced Victony’s artistic vision, his tours have made sure the world wouldn’t forget it.
The U.S. leg last year was a masterclass in stagecraft, with Victony commanding crowds in major cities and proving that Afrobeats’ global dominance is only growing. February saw him light up Europe, from the intimate energy of Toulouse to the electric atmosphere of Warsaw, Cologne, and Prague.
And now, the journey continues. With upcoming stops in cities like Melbourne, Sydney, Tokyo, and Lisbon, Victony is doing what every great debut album deserves—turning it into a movement. Because that’s what the best debut albums do. They don’t just define an artist; they become the soundtrack to a generation’s life.
The Albums That Marked Eras—What’s Yours?
Every generation has an album that defined their era.
For some, it was Superstar, changing how we saw Afrobeats forever. For others it was L.I.F.E, and they knew Burna Boy was going to be something different. Maybe you watched Mr. Money With The Vibe take over every club, every car stereo, every conversation.
And maybe, for a new generation, Stubborn is that album. So, what debut album changed the way you saw Afrobeats? What album defined your era?
