Broadcasting
Here Are the Emerging Artists to Watch in 2023
Few things are quite as exciting as discovering new talent to listen to on repeat, add to your favourite playlists and lean on for emotional support over the course of the year.
For fans of African music on Spotify, 2023 promises another roll-call of amazing artists, ready to break through to fame and mainstream streaming success.
If anything, African music has consistently unfurled waves of new, fresh talent every year who have propelled the global interest in Afrobeats, Amapiano and its many other sub-genres. 2022 was a breakout year for artists like Buju, Costa Titch and Asake, whose success propelled them into Wrapped top lists at the end of 2022.
And while those talents took their voices to the main stage, a slew of rising stars was also laying the groundwork for their own breakout year. Some of these musicians are primed to release their best music in the coming months. Others have enjoyed early success on Spotify, and show many indications of even greater success on the horizon. Others are relatively new elements, developing new takes on familiar sounds that harken towards major shifts in popular music.
Hailing from Nigeria, South Africa, Kenya, Tanzania and Uganda with a wide array of styles, cultures and perspectives, these artists are, according to Spotify data, the ones to watch in 2023.
KHAID
At 17, Khaid is a Gen Z starboy in every sense. His debut, With You was an instant darling, evoking a syrupy teenage love story at its crescendo. As part of a generation of artists first discovered on social media, Khaid’s songs resonate with a core online audience, inspiring many viral challenges. His Afrobeats inspirations come to the fore on songs like Akpako, but Khaid also shows his emo-trap side on Ski, a fave among young Nigerians in 2022.
TEMPOE
Known for his producer tag, MAD!, the young producer is behind some of Afrobeats’ biggest songs. A long-term friendship with CKay birthed the global smash Love, Nwantiti, now certified double platinum in the United States. 2022 showcased a new pace to Tempoe’s hit churning powers; he produced Joeboy’s viral hit, Alcohol and performed in Soweto, the global sensation by Spotify RADAR alumnus, Victony. With over a hundred million Spotify streams under his name, Tempoe is primed to deliver more hits this year.
POCO LEE
First introduced to fans for his dance skills, Poco Lee has since applied his skill set to crafting some of the biggest street pop hits of 2022. Poco Lee has built a huge fanbase by backing some of the most interesting emerging talent – including Bella Shmurda and HotKid. Whether it’s his ear for a future hit or his ability to put the right creatives in the same space, Poco Lee has blessed hit records like Otilo and YARD. Wherever Afrobeats goes this year, you’ll find Poco Lee cooking close by.
BAYANNI
Bayanni has hit 2023 running. The newest artist from Mavin, the house that produced Rema & Ayra Starr, introduced himself with an eponymous four-track EP in September 2022. Ta Ta Ta has risen on the shoulders of a viral social media challenge to become almost inescapable. And it has not stopped there, finding its way into the dressing rooms of Manchester City, where Algerian footballer, Riyad Mahrez chose the song to celebrate a stellar performance.
BRUME
With just one release under his name, Brume is still a mysterious entity to some. His song, Workaholic isn’t. Released in 2021, the unassuming hustler’s anthem extols the virtues of perseverance and hard work as the young singer pursues his own holy grail. Brume first drew attention with occasional freestyles on social media before Workaholic and as 2023 kicks off, ears are perked for what new music Brume has to offer.
YKB
Formerly known as YusufKanbai, YKB is an eclectic artist on many Ones to Watch lists. He’s released a number of cult favourites over the years and built a steady community while winning The One, a competition by online publisher Clout Nigeria. YKB leveled up with 2021’s Before I Blow, spinning fan favourites like Practice Patience and Oshofree. He’s converted even more fans with 2022’s San Siro, a football themed love story that has many convinced it’s YKB time.
KAESTYLE
Kaestyle boasts a certain dexterity with words and narratives that, aligned with soothing melodies, has eased him into libraries of many music fans. The singer‘s debut EP, Kae’s Study shows his ability to play in different lanes, offering drill on Moving Mad and some groovy Afropop on Blessings. His collaboration with Victony, True Love is an early fan pick, and fans will be eager to stream more easy hits from Kaestyle.
National Broadcasting Commission (NBC) has said that Nigerians will no longer pay annual Digital Access Fees under the renewed Digital Switch Over (DSO) project.
Charles Ebuebu, director-general, NBC, disclosed this in an exclusive interview with the News Agency of Nigeria (NAN) on Wednesday in Abuja,
Ebuebu said viewers only need to purchase an approved decoder and satellite dish which cost below N20,000 to enjoy free television permanently.
“Previously, users paid an annual digital access fee of about N1,500, described as an administrative charge.
“The new system removes that annual fee. It provides free access to free-to-air television channels without any payment.
“Premium channels will be introduced later. Viewers who want those additional channels will be able to access them through paid services.
“Nigerian content on free-to-air channels remains free to watch. Unlike Pay TV, this platform does not require monthly subscriptions for its basic service,” he said
Ebuebu said approved decoders for the FreeTV will cost less than N20,000 and authorised sales outlets will soon be announced.
He urged Nigerians to wait for official information on approved dealers for the DSO decoders, warning that unauthorised sellers are exploiting growing public demand.
He reiterated that people only need a free-to-air decoder, along with a satellite dish instead of the old antenna system to receive the DSO signal.
“Once the equipment is installed, viewers can access all available channels across the country without paying any subscription fees,” he stressed
The DG dismissed claims by some retailers that there are different categories of decoders sold at varying prices, stressing that such sellers are not authorised by the commission.
According to him, the NBC will soon publish the list of approved dealers, official prices, and locations where genuine decoder boxes and accessories can be purchased.
The NBC boss said the DSO project is designed not only to improve television broadcasting but also to stimulate economic growth by creating jobs, attracting investment, and opening up opportunities for businesses that support the broadcasting industry.
Ebuebu noted that content producers and broadcasters stand to benefit significantly from the nationwide reach of the DSO platform.
Unlike the previous system, where many stations had limited regional audiences, he said the new platform will make their channels available to viewers across Nigeria.
He added that the introduction of audience measurement technology will provide scientific and reliable data on television viewership.
Ebuebu added that audience measurement technology will give advertisers greater confidence in placing adverts and enable broadcasters to demonstrate the true size and reach of their audiences nationwide.
Uchenna Mbunabo, Nigerian filmmaker, has raised concerns over the alleged unauthorised broadcast of Nollywood films by some Ghanaian television stations, calling on Ghana’s National Film Authority (NFA) to strengthen the enforcement of copyright laws.
Uchenna Mbunabo, Nigerian filmmaker
Mbunabo made the remarks during a conversation with James Gardiner, deputy CEO of the National Film Authority (NFA) of Ghana.
He questioned whether it was permissible for television stations in Ghana to download Nigerian movies from YouTube and air them without obtaining permission from the producers.
“I noticed that Ghanaian TV stations, the way they are stealing our films and showing them for free with impunity. Is it legalised in your country for TV stations to go on YouTube, download people’s sweat and show it for free?”
According to Mbunabo, some Ghanaian television stations have been downloading newly released Nollywood films from YouTube and broadcasting them without authorisation, depriving producers of revenue generated through the platform.
He also stated that he had not witnessed Nigerian television stations engaging in similar practices and questioned what measures Ghana was taking to protect filmmakers’ intellectual property.
Responding to the concerns, Gardiner acknowledged that the issue exists and said the National Film Authority had begun engaging relevant stakeholders to address it.
He disclosed that the NFA has held discussions with the Ministry of Communications, the National Communications Authority (NCA) and the National Media Commission (NMC) on improving copyright enforcement.
Gardiner explained that while Ghana has copyright laws, enforcement remains challenging because many television stations now operate digitally and may not have physical offices within the country.
“There are copyright laws, but they are not effective because a lot of the TV stations don’t have offices. Most of them are now digital, so they operate from anywhere. They can even have a Ghanaian TV station but be operating from Austria simply because it is digital.”
He added that authorities are considering a new licensing framework that would require broadcasters to undergo a fresh licensing process to improve monitoring and enforcement.
According to Gardiner, television stations found guilty of illegally broadcasting copyrighted content would be required to compensate affected producers through fines.
He added that repeat offenders could face suspension of their broadcasting licences, while a third violation could result in the revocation of their licences.
Although he did not provide a specific timeline, Gardiner said the reforms were already underway and expressed hope that significant progress would be seen next year.
Mbunabo welcomed the proposed measures but urged the National Film Authority to expedite the process, stating that unauthorised broadcasts continue to affect filmmakers’ ability to recover production costs through legitimate distribution channels such as YouTube.
He also stressed that his comments were not directed at Ghana’s film industry, noting that he has worked with several Ghanaian actors over the years and supports collaborations between Nollywood and Ghallywood.
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