Ghana has been home to some of the most recognizable musical exports from the African continent, contributing heavily to the globalization and development of the continent's sound. While highlife is regarded as the country’s biggest sonic export, the introduction of hiplife some 30 years ago invigorated the Ghanaian music scene and birthed some of the country's most important artists. 

Hiplife music blends hip-hop from the West with Ghanaian highlife sounds like Jama and Kpanlogo — a sound and dance by the Ga people, who make use of nono (metal bell), fao (gourd rattle), and local drums to play beats. These elements were fused with funk, bass, and boom-bap to create hiplife. Hiplife and hip-hop have aural similarities and both use rapping; both genres also reflect a larger culture. 

While Gyedu-Blay Ambolley is considered one of the earliest rappers, as demonstrated on his 1973 song "Simigwa-Do," the term "hiplife" was only coined in the late 1990s by genre pioneer Reggie Rockstone. Still, American hip-hop had arrived in the Ghanaian capital of Accra by the early '90s and local rappers began to release their own music soon after. Duo Talking Drum were among this early cohort, and their single "Aden" was an underground hit in 1993.

As a movement and culture, hiplife is also an identity,  created to encourage people to be daring in their exploration of sound. Pioneering hiplife artists like Root Eye Samini and Shatta Wale (then known as Bandana) fused dancehall and highlife in the early 2000s to make music which could connect with local audiences.  

Collaborations between artists and producers have been crucial in defining the sound, evolution, and amplification of hiplife. Just as hip-hop has developed a plethora of subgenres, hiplife has birthed other sounds such as azonto and asakaa. An offshoot of asakaa, Ghanaian drill, was among the elements in the new Best African Music Performance Category at the 2024 GRAMMYs.

The story of hiplife includes many important producers, artists and labels, including Kassa Records, DJ Rab, Zapp Mallet, Akyeame, Panji Anoff, JayQ, Hammer,  Ex Doe, Chicago, and Okomfour Kwadee. Going forward, the mantle will fall on artists like TicTac, Abrewa Nana, Appietus, and much later a younger generation including  Asem, Richie Mensah, and Beeztrap KOTM continue to amplify hiplife. Afrobeats artists have also taken notice; Tic Tac and Tony Tetuila’s "Fefe Ne Fe" was sampled on the 2019 song "Gbese" by DJ Tunez feat. Wizkid and Blaqjerzee. 

With African music continuing to gain global recognition, the rich sounds emanating from the African continent are ripe for exploration.  Read on for 10 artists who have been essential to the story of hiplife music.

Reggie Rockstone is regarded by many Ghanaians as the godfather of hiplife, having paved the path for many to pursue rapping as a career. Working with producers like the late Rab Bakari (DJ Rab Bakari), Reggie set the ball rolling for hiplife through songs like "Tsooboi." 

His 1997 album Makaa Maka offered an early template for the sound, fusing Western-influenced hip-hop with traditional Ghanaian highlife sounds. The linguistically adept Reggie Rockstone — a Ghanaian boy who was raised in the UK and New York — rapped in both English and impeccable Ghanaian Twi to the shock and admiration of many. By this singular act, he proved that it was cool to rap in your own dialect and not necessarily in English, like American rappers of the '90s.

Reggie's will to make Ghanaian rap music stand out via releases like Me Na Me Kae, and Me Ka did not go unrewarded. He also scored hits with his singles "Keep Your Eyes on the Road," "Plan Ben," and "AH." He has also collaborated withdancehall giant Beenie Man and Nigerian legend 2Face.

Lord Kenya rose to fame when he joined Slip Music, one of Ghana’s celebrated music labels of the late '90s and mid-2000s. His musicality was undeniable, and his hardcore rap style was adored by many for its energetic flow and delivery.  Likened to Tupac Shakur, Kenya was very direct whenever he was on the mic. He never shied away from any lyrical battle thus earning him the title "rap heavyweight." His swagger on and off the mic made him a star, with many eager to catch him anytime he performed.  

Lord Kenya's street affinity, coupled with great stage performances, left a mark on Ghanaian audiences. His albums — including 1998's Sika Card, Yesom Sika, and Sika Baa — solidified his position as one of hiplife’s most important artists. Kenya's hit singles "Enyomo," "Medo" and "Sika Mpo Mfa Neho" as well as his verse on the late Daseebre Dwamena’s song, "Kookoo" ushered in a street approach to the rap scene, as seen in the careers of rappers like Kwaw Kese and Kweku Smoke in later years.

Revered, celebrated, and crowned by music rap purists in Ghana as "Rap Sofo" (high priest of rap), Obrafour influenced multiple generations of rappers in Ghana. The artist first gained popularity in the late '90s with his cadence and mastery over his mother tongue, Twi, as well as his storytelling, lyricism, and wisdom.

Obrafour’s flow complemented the work of legendary producer Hammer, who brought hard-hitting drums, horns, and legendary sharp chords to Obrafour’s 1999 album Pae Mu Ka. The album is regarded as the bridge that connected older audiences who dismissed hiplife as a passing fad and the youth, who regarded hiplife as the future of Ghanaian music. Today, Pae Mu Ka is as important to hiplife as Nas’ Illmatic is to hip-hop.

Pae Mu Ka was the first of several collaborations between Obrafour and Hammer. Together, they created a sound that would influence generations of rappers. Obrafour is held in high regard by rappers such as M.anifest, Guru, Ko-Jo Cue, and Pappy Kojo.

Established in Nima, a suburb of Accra, VIP underwent significant personnel changes but never let their commitment to hiplife music falter. Original member Friction later onboarded Promzy, Prodigal, and Lazzy (who later changed his name to Zeal), and Bone championed the vision of the group for over a decade (as well as the departure of  Friction, Bone and Promzy).

Backed by the group's diverse personalities, VIP quickly became one of the biggest music exports of the country, winning six awards at the Ghana Music Awards in (2004), including Song Of The Year for the 2003 hit title track "Ahomka Wo Mu." Over a two-decade period, the group released albums and scored several hits and collaborated with some of the continent's finest, including  2Face, Patoranking and a host of others. Vision in Progress (VIP) epitomized the cultural ethos of hiplife: raw energy, passion and talent.

When Reggie Rockstone, a longtime admirer of the group, arrived in 2014, the group became  VVIP. The group’s success would be further cemented as they crossed over into Nigeria and other parts of the world. "Ahomka Wo Mu" has been sampled and interpolated by various musicians, including songs by  MUT4Y & Wizkid  and Kida Kudz.

While Twi rapping artists dominated the hiplife music industry, very few artists were successfully making music in other local dialects. Tinny — a rapper who raps in Ga, a language spoken by the people of Accra —  rose to the occasion with both rap and fashion. Another product of Hammer’s Last Two record label, Tinny had an unmatched aura that earned him the moniker "Sexy Man Tinny." Early aughts albums such as Makola Kwakwe, Aletse (Akwe Polo), and Kaa Bu Ame still echo in today’s industry. His later works with record producer Richie Mensah on singles like "Ringtone" and "Now I Know" further entrenched his name in Ghana’s hiplife history.

Tinny’s will to pursue rap music in Ga laid the foundation for artists such as Edem, who raps predominantly in Ewe and to a degree music duo Blackstone who performed in Dagbani. Tinny also featured in the BET Hiphop Awards International Cypher (Ghana) alongside Reggie Rockstone, Sarkodie, D Black, Edem, Kwaku-T and Baby G (2010).

In a male-dominated industry, Mzbel created change that still reverberates today through the careers of women like Amaarae, Wendy Shay, Sister Afia and Gyakie. Following in the footsteps of those before her, like Abrewa Nana (a household name in the early 2000s for her role as one of the leading female artists in hiplife), Mzbel's singing and rap skills were not just catchy, but thought-provoking with themes of love, sex, body positivity, and addressing abuse.

Mzbel's non-conformity made her a target by some aspects of the industry. The general public who felt she was a bad influence on younger girls, due to the sensuality in her lyrics and imagery. Yet she was unphased. Mzbel scored national hits with her albums Awosome, and 2005's 16 Years, and touched on issues many regarded as controversial. The rapper stood up for women’s rights and encouraged women to be vocal about things society heavily criticizes women for. She ensured that women were not bullied into silence but instead express themselves fully through art. Her hit single "16 Years" with the late Castro touched on the issue of sexual harassment and abuse young girls face at the hands of older men and, as such, became a national topic.

Since bursting onto the scene in 2008, Sarkodie has churned out multiple hits year after year with a unique flow and delivery. His records touch on multiple subjects, including friendship, family, love, heartbreak, and bad governance. His hold over rap in Ghana has been extended across the continent, making him one of the most influential rappers in Africa.

In 2012, Sarkodie played a pivotal role in the amplification of azonto music (an offshoot of hiplife that melds dance music genre from the early 2010s with upbeat fast-paced sounds and witty comical lyrics) with his song "U Go Kill Me" with fellow rapper E.L. Winning "Artist Of The Decade at the" Ghana Music Awards (2019), cemented his influence and status.

Rapping predominantly in Twi, Sarkodie’s ability to find pockets on the beat has made him a frequent featured artist by the likes of Mr. Eazi, Ice Prince, Flavour, Victoria Kimani, Patoranking and a host of other important artists in Africa. Sarkodie won Best International Act: Africa (2012) and the inaugural Best International Flow at the BET Hiphop Awards in 2019. 

In a time when hiplife had taken a back seat to Afrobeats and amapiano on the Ghanaian market, a group of artists from Kumasi (Kumerica) — a slang used to describe people of Kumasi who enthusiasts of American music and culture — burst onto the scene via asakaa, or Ghanaian drill. Inspired by Pop Smoke’s drill music, the sound reflects their lifestyle on the streets of Kumasi, hiplife elements, and American hip-hop culture such as fashion.

The name asakaa originates from the word saka, a flipped slang of the Twi word kasa, which means to speak. Saka, a style of speaking where words are pronounced backwards, was heard in the songs that were released by the Asakaa Boys. The asakaa sound is credited to the Kumasi-based Life Living Records, and signees Jay Bahd, Kawabanga, O’Kenneth, City Boy, Kwaku DMC, Reggie, Sean Lifer, Braa Benk and Skyface SDW under the moniker The Asakaa Boys.

With songs like "Akatafoc", "Sore," and "Agyeiwaa," and leading the charge, Asakaa (Ghanaian Drill) has gained recognition locally and internationally in the 2020s.

Black Sherif may be young, but he has already charted a path of success for himself in Ghana’s music industry which many are yet to match. Black Sherif’s sound, writing, fashion, and mannerisms have earned him admiration. He first tasted popularity when his song "Money" went viral in 2019; two years later he regained public attention in 2021 with his First and Second Sermon songs and after a Burna Boy cosign on "Second Sermon Remix," Black Sherif's popularity soared.

The artist has gone on to deliver multiple hit songs such as "Kweku The Traveller," "Soja," and a monstrous guest verse on Odumodu Blvck’s "Wotowoto Seasoning." In 2023 he won Artiste of the Year at the Ghana Music Awards and aBET Awards Best International Award. Additionally, he has performed on global stages atMOBO Awards, Wireless Festival, and 2023's AfroNation.

With a charisma like that of Lord Kenya, King Paluta is an energetic rapper with some "thugness" in his delivery influenced by life on the streets of Kumasi. As a young man, he often slept in the studio, where he learned how to operate the equipment in the studio and dropped his first official single in 2015. 

Despite releasing music and being popular in Kumasi, he would only gain national attention in 2023 for "Yahitte," which earned him the award as the Best New Artist at The Ghana Music Awards in 2024. In the 2024 alone, he has scored two charting-topping singles, "Aseda" and "Makoma," making him arguably the hottest artist in Ghana.

As a student of hiplife, King Paluta has fully embodied the genre as evident in his music. He has positioned himself to carry on the legacy of those before him as far as hiplife is concerned, and he is on track thus far.

New age African artists are making waves around the world, now more than ever. But that may have not been possible without trailblazers like Davido.

Born in Atlanta and raised in Lagos, Nigeria, Davido (born David Adedeji Adeleke) laid the groundwork for Afrobeats in the early 2010s thanks to buzzworthy songs like "Gobe," "Skelewu," "Like Dat,"  and "The Money"; he has since earned a reputation for creating nostalgic sing-along anthems and lively Afrobeat tracks. Along the way, Davido has also pushed the limits of African music — bridging the gap between local and global artists, and collaborating with musicians like Chris Brown, Asake, Summer Walker, Angélique Kidjo, Burna Boy, and Lil Baby.

Now that he's getting to enjoy the ride alongside several other global acts, he can't help but gush. "[African music] has been at a peak, reaching mainstream [attention] the past few years that I don't think it's ever been at before," Davido told GRAMMY.com in 2024. "It's an amazing thing to witness and be a part of."

On April 18, the four-time GRAMMY nominee will release his aptly titled fifth album, 5ive. As hinted by pre-release tracks "Be There Still," "Awuke" featuring YG Marley, and "Funds" featuring ODUMODUBLVCK and Chike, fans can expect lively, catchy records that celebrate life and his heritage.

Ahead of the highly anticipated album, GRAMMY.com revisits five essential songs that reflect the timeless artistry of Davido.

Davido exploded onto the music scene with a clear focus and clearer intentions — and unwavering confidence to boot. His debut album, Omo Baba Olowo (meaning "Son of a Rich Man" in Yoruba), became notable for his energetic sophomore single "Dami Duro," which translates to "Stop Me."

The fast-paced track effortlessly merges Yoruba and English lyrics, celebrating his success and hinting at his impending, unstoppable rise in the music industry. Recognized as a boastful party anthem, this song marked a defining moment for a young Davido, setting the tone for a long-spanning and prosperous career.

For many Nigerians, Davido's music has become an integral part of numerous celebrations and has served as the soundtrack for birthdays, anniversaries and weddings alike. His folksy, upbeat single "Aye," produced by TSpize and written by fellow Nigerian artist Victor Ngubor (Runtown), debuted in February 2014 — conveniently in time for Valentine's Day.

The love song features a youthful and enthusiastic Davido bragging about finding real love untainted by material items. "She no wan designer/ She no wan Ferrari/ She say na my love oh/ You belong to me/ And I belong to her oh," he sings on the chorus.

In 2014, "Aye" won Song of The Year at Nigeria's musical award celebration, The Headies. The award solidied Davido's music as a go-to soundtrack for life's most precious milestones, while further cementing his status as a cultural icon.

Davido's second studio album, A Good Time, birthed many popular songs such as "Risky" featuring Popcaan, "Assurance" and "If." However, none of those compared to the success of "Fall."

Originally released in 2017, the single was an immediate success, debuting at No. 3 on Billboard's World Digital Song Sales chart. It remained in the chart for 59 weeks, breaking the record for the longest-charting Nigerian pop song in Billboard history at the time; subsequently, the song helped elevate Davido's mainstream recognition. 

"Fall" saw another boost when it was included on the star's 2019 album, A Good Time, which reminded the world of his global prominence. And that would only continue to grow in the next decade.

A Better Time is another album that served fans and new listeners with numerous hits and iconic melodies. The project spawned the single-turned-political anthem "FEM," the sultry midtempo record "Jowo," and the cheeky rhythmic tune "Holy Ground" featuring Nicki Minaj. Yet, the song arguably most beloved by Davido's fans was the cheerful "La La," featuring fellow Nigerian singer CKay.

A hidden gem on A Better Time, "La La" incorporates makossa, an African rhythm popularized in the early 2000s; the track's dose of nostalgia helped it become a fan favorite, especially after the release of its playful music video. The collaboration also marked an exciting surprise for fans of both artists, as CKay had just delivered his own global smash with 2019's "Love Nwantiti." 

At the beginning of the track, Davido says, "This song feels so good," and that's exactly what it does for the listener. From the thumping bass to the playful lyrics and adlibs, "La La" makes you want to move — or in Davido and CKay's case, "Dance my makossa."

"Unavailable" 'Timeless' (2023)

Though Davido is no stranger to his music going viral, his single "Unavailable" generated a unique buzz, particularly on social media. Featuring South African producer/artist Musa Keys and later remixed by Atlanta rapper Latto, "Unavailable" has 1.4 million videos with its sound on TikTok as of press time. That's mostly thanks to a dance challenge that sparked from the song, which even received a special shout-out from Rihanna.

The song and album also earned the 32-year-old his first GRAMMY nods. Along with the song's nomination for Best African Music Performance, "FEEL" was up for Best Global Music Performance and Timeless was up for Best Global Music Album at the 2024 GRAMMYs.

While Davido has drawn inspiration from traditional Nigerian music since the beginning of his career, the Amapiano-tinged "UNAVAILABLE" was arguably the singer's most innovative take on his roots yet. As one of his biggest songs to date, it also proved that Davido is eager to continue pushing the boundaries of African music — and he's become a global star because of it.

A decade ago, Afrobeats was on the verge of global recognition. By 2015, the genre had grown beyond its West African roots, fueled by infectious club anthems, high-profile collaborations, and an evolving sound that blended local influences with global trends. 

That year proved to be a turning point. Nigerian music saw a surge in commercial success, with artists like Olamide, Burna Boy, Davido, and Wande Coal making major moves. 

Collaboration played a crucial role in the genre’s expansion. Remixes like "Woju" featuring Tiwa Savage and Davido resonated across Africa and beyond, while songs like Burna Boy's "Soke" and Davido's "Fans Mi” infused trap, dancehall, and pop into the sound. Burna Boy's sophomore album, On A Spaceship, laid the groundwork for his future global impact, tackling themes of resilience and identity that remain central to his work today. 

Then came Wizkid’s "Ojuelegba” remix with Drake and Skepta — an instant classic that catapulted Afrobeats even further onto the international stage. The song became a symbol of pride for Africans both at home and in the diaspora, influencing artists from Doja Cat to Sarkodie.

The momentum carried into the next decade. Wizkid's "Essence” with Tems " became a worldwide anthem in 2020, further cementing Afrobeats' global appeal. Burna Boy’s African Giant (2019) secured a nomination for Best World Music Album at the 2020 GRAMMYs and by 2023, the Recording Academy introduced the Best African Music Performance Category, with Tyla’s "Water" winning its inaugural award at the 2024 GRAMMYs.

From viral dance hits to groundbreaking collaborations, 2015 set the stage for Afrobeats’ global takeover. These 10 songs not only defined the era but continue to shape the genre a decade later.

"Bobo" — Olamide

By 2015, Olamide had solidified himself as one of Nigeria’s most consistent hitmakers, releasing his fifth studio album, Eyan Mayweather, in as many years. Leading the charge was "Bobo," an undeniable anthem with Olamide’s signature Yoruba-infused lyricism and Young Jonn’s infectious production. But beyond its chart success, Bobo introduced the “Shakiti Bobo” dance, a viral sensation that transcended borders, catching the attention of stars like Ciara, T-Pain, and Missy Elliott. Nearly a decade later, the song remains a staple at Nigerian clubs and parties.

"Ojuelegba" –  Wizkid (feat. Drake & Skepta)

Wizkid’s "Ojuelegba" — a tribute to the hustle and grind of Lagos — was already a standout from his 2014 album, Ayo. But in 2015, the remix featuring Drake and Skepta transformed it into a global phenomenon. Premiering on OVO Sound Radio, the track helped push Afrobeats further into the international eye, with its influence rippling across hip-hop and pop. "Ojuelegba" has since been sampled and interpolated by artists like Doja Cat and Sarkodie, marking it as a defining song of Afrobeats’ global rise.

"Soke" – Burna Boy

Long before Burna Boy became an international powerhouse, he was using his music to explore themes of resilience and social awareness. In Yoruba, sókè means "higher" or "louder," a fitting title for a song that urged Nigerians to raise their voices against societal struggles. A standout from his sophomore album On a Spaceship, "Soke" was a melodic yet politically charged anthem built on Fela Kuti-inspired instrumentation and Orbeat’s dynamic production. The track helped define Burna’s genre-blending style, laying the groundwork for the Afrofusion sound he would later take worldwide.

"Crazy" – Seyi Shay (feat. Wizkid)

After a stint in the UK girl group From Above (a band signed to Beyoncé's father, Matthew Knowles) Seyi Shay returned to Nigeria and quickly became a force in Afrobeats. "Crazy," a sultry collaboration with Wizkid, was a standout from her 2015 debut album, Seyi or Shay. Produced by Legendury Beatz, the track blended Afrobeats and R&B, showcasing both artists' smooth chemistry. With its playful yet seductive tone, "Crazy" was one of the era’s definitive collaborations.

"My Darlin’" – Tiwa Savage

Tiwa Savage’s ability to fuse R&B with Afrobeats made her one of the genre’s most influential artists. "My Darlin’," produced by Don Jazzy and BabyFresh, became a sentimental favorite, often played at weddings and celebrations. With its infectious melody and heartfelt lyrics, the track showcased Tiwa’s signature vocal versatility and cemented her status as a leading voice in contemporary Afrobeats.

"Ashimapeyin" – Wande Coal

Wande Coal, often referred to as Nigeria's "Black Diamond," made a triumphant return in 2015 with "Ashimapeyin," a standout from his long-awaited album Wanted. The project featured collaborations with heavyweights like Burna Boy, Wizkid, 2Baba, Falz and AKA. Produced by Sarz, the track was a high-energy anthem that reaffirmed Wande Coal’s influence on the genre. Its impact continues today having been sampled by rising stars like Fireboy DML in "wande’s bop”(2024). 

"Soldier" – Falz (feat. Simi)

Falz and Simi’s "Soldier" was a genre-blending gem featuring Simi crooning over Falz’s witty and humorous pidgin rap, mixing Afrobeats, highlife, and storytelling. The track, from Falz’s 2015 album Stories That Touch, gained even more popularity thanks to its 14-minute music video directed by Clarence Peters, which played like a short film. A humorous yet heartfelt tale of an unlikely romance between a soldier and a woman unimpressed by his bravado, "Soldier" remains one of the most memorable duets of the era.

"Fans Mi" – Davido (feat. Meek Mill)

Davido’s "Fans Mi" was a landmark moment for Afrobeats’ international expansion. Featuring Philadelphia rapper Meek Mill, the song bridged the gap between Afrobeats and American hip-hop, with a beat produced by Nigerian hitmaker Shizzi. Lyrically, "Fans Mi" was a flex of Davido’s rise from humble beginnings to global stardom, while Meek’s verse added a trap influence that would become more common in Afrobeats crossovers.

"Gift" – Iyanya (feat. Don Jazzy)

Following the massive success of "Kukere," Iyanya continued his run of dancefloor-ready hits with "Gift," a collaboration with Afrobeats powerhouse, Don Jazzy. Taken from his 2015 album Applaudise, the track blended high-energy Afrobeats rhythms with Iyanya’s smooth delivery. While "Gift" may not have been his most defining hit, it reinforced his ability to craft infectious anthems.

"Woju" (Remix) – Kizz Daniel (feat. Davido, Tiwa Savage)

Kizz Daniel (then known as Kiss Daniel) burst onto the scene with "Woju," a feel-good anthem that quickly became one of Afrobeats hits of 2014. However, the remix — featuring Afrobeats superstars Tiwa Savage and Davido — took it to new heights in 2015. Produced by DJ Coublon, the track dominated airwaves, amassed over 40 million YouTube views, and was hailed as one of the year’s most defining Afrobeats records, stamping Kizz Daniel’s status as a rising star.

Watch highlights from the 2025 GRAMMYs on live.GRAMMY.com.

The 2025 GRAMMYs telecast was reimagined to raise funds to support those impacted by the wildfires in the greater Los Angeles area. The Recording Academy and MusiCares launched a dedicated campaign to support affected music professionals, and we need your help. Donate now.

The musical bond between Future and Metro Boomin blazed new paths in Atlanta's rap scene, and transformed trap music into one of music's most expansive exports. The duo first connected on the cult "Karate Chop" back in 2013, and have been on an unrelenting hit streak ever since.

Future's auto-tune-soaked melodies and Metro's ominous trap production has formed an inseparable linkage and some of the biggest records of the past decade. From "Honest" to "Jumpman" and 2024's "Type S**t," the pair have blossomed into music's most in-demand hitmakers and influencers. 

Metro, born Leland Wayne, went from aimlessly sending beats as a teenager from his St. Louis home, to becoming one of the industry's most versatile music producers and a GRAMMY-nominated solo artist. Meanwhile Future, born Nayvadius Cash, has evolved into an international draw with a myriad of No. 1 records, multi-platinum albums, and GRAMMY wins under his belt. 

The two stars have continued to ascend in lock-step, with a new medley of booming street hits and club anthems arriving with each collaboration. But 2024 was their most expansive year to date. The duo cranked out We Don't Trust You in March, and the sequel, We Still Don't Trust You, just weeks later. 

Backed by the Kendrick Lamar-assisted hit "Like That," — and the seismic rap feud it ignited— We Don't Trust You debuted atop the Billboard 100, marking Future's second-largest opening week and Metro's biggest ever. Its follow-up, the more melodic-leaning We Still Don't Trust You, also claimed the No. 1 spot. Together, the joint projects earned the duo four nominations at the 2025 GRAMMYs, including Best Rap Album (We Don't Trust You) and Best Rap Song ("Like That"). 

Future and Metro have hit an artistic zenith unmatched by most rap duos, and it doesn't appear their streak is slowing down any time soon. As their legacy continues to grow, look back at the genesis of their artistic union over the years, and the series of hits that have formed in their wake:

2013

Before Metro became a top-end producer, he was a 17-year-old beatmaker with hopes one of his beats would fall into the hands of a mainstream artist. One faithful email to Brick Squad rapper OJ da Juiceman got him an invite to his Atlanta studio. With permission from his late mother Leslie Wayne, Metro made the eight and a half-hour voyage from St. Louis to the trap music capital. She continued to chaperone him almost weekly until Metro moved to Atlanta full-time to attend Morehouse College in 2012. 

The first-year college student split his time in the classroom and in the studio with Juiceman's mentor Gucci Mane. He eventually crossed paths with Future, who ascended from the disbanded Atlanta group Da Connect and became his own musical entity. Future started meeting up with the teenage producer daily, and the "Tony Montana" rapper hopped on one of Metro's zippy trap beats. He laid down drug-sunken lyrics to the thunderous, heavy-synth instrumental that became 2013's "Karate Chop," but Metro wasn't convinced it was a worthy single. 

"I had no clue from all the records we've done, that [that] s**t just sitting in the studio would be the one. But these days, the people and the streets produce the singles and they was fuckin' with it," Metro said in a 2013 interview with XXL.

Despite Metro's initial hesitancy, the remix featuring Lil Wayne became the lead single of Future's 2014 album, Honest, which featured three other songs from Metro, including the title track and "I Won" with Kanye West. The success of "Karate Chop" convinced Metro to drop out of college and capitalize on the rising momentum. And the musical alchemy between the rapper and producer only strengthened over time.

2015

By 2015, Metro and Future were no longer fighting for attention. The spotlight was keenly focused on the two artists, who, along with figures like Young Thug and Rich Homie Quan, were at the forefront of a booming, melody-infused trap sound. The proof of their collective powers was Future's trap masterwork DS2 and What a Time to Be Alive, an entertainingly disjointed mixtape with Canadian-born superstar Drake. 

Following the release of 2014's Honest, Future dropped a trilogy of album-quality mixtapes. The first was Monster, a darker and more brooding project that saw Future return to his previous form. Metro executive produced the mixtape, and was credited for crafting "Radical," "Mad Luv," "Wesley Pressley" and other tracks.

The duo carried the momentum of Monster into Future's DS2, widely considered the rapper's masterstroke of bleak, self-medicated drug tales and fiery trap hits. Metro, alongside fellow Atlanta trap architects Southside, Zaytoven, and Sonny Digital, handled the bulk of the project. Some of the tracks he produced included the strip club anthem "Freak Hoe," the tranquilizing "Rich Sex," and "Where Ya At" with Drake. 

After the recording session for "Where Ya At" wrapped, Drake and Future began working on the collaborative mixtape, What a Time to Be Alive.  Drake flew to Atlanta for six days with the hopes of recording a handful of songs, but Future's relentless work ethic prompted the Toronto native to match his tenacity. 

The 11-song mixtape surprisingly dropped in September 2015, and fans immediately swarmed to Metro-produced tracks like "Digital Dash," "Big Rings," and "Jumpman." The latter became a top 20 Billboard hit, and Metro's Future-assisted producer tag, "If Young Metro don't trust you I'm gon' shoot you," became the industry's most recognizable calling card.

2017

Just when it felt Future's smoldering hit streak was beginning to cool, he released back-to-back albums FUTURE and HNDRXX in February of 2017. The two projects teetered between pop-inspired tunes and heavy-handed street records, and Metro was the unsurprising maestro behind the biggest song from the two records. 

The Metro-produced "Mask Off" peaked at No. 5 on the Billboard Hot 100, making it Future's highest charting single at the time of its release. A remix of the track, which samples Carlton Williams' "Prison Song" from the 1978 Selma musical, featured Kendrick Lamar. 

The massive hit encouraged generations of hip-hop fans to chant the song's drug-filled hook "Percocets (ya), molly, Percocets (Percocets)." And while Future's HNDRXX takes a more R&B and bright-eyed musical approach compared to the dreadful trap sound of his previous works, Metro was credited for the album opener "My Collection" and closer "Sorry."

2022

After five years without a collaboration, the super-duo linked back up for Metro's "Superhero (Heroes & Villains)." Future's gravelly and unpolished delivery contrasted the song's more cinematic and orchestral production. It was the first single off the producer's comic book-themed album, Heroes & Villains, which echoed an evolutionary turn for the producer-turned-solo artist. 

His transition from rugged trap sounds to grander production was first demonstrated on 2018's Not All Heroes Wear Capes, but his second album and expansion into film showcased it at a larger scale. Metro went on to produce Sony's Spider-Man: Across the Spider-Verse soundtrack, which featured A$AP Rocky, NAV, Travis Scott, Don Tolliver, Lil Uzi Vert, 21 Savage, and his other frequent collaborations.  

In the years since their last record, Future was also expanding his musical reach. He cranked out joint projects with Young Thug, Zaytoven, Juice WRLD, and Lil Uzi Vert, and released another collection of projects while taking a few momentary breaks in between. "​That's because I'm happy," Future said of his occasional hiatuses in a 2022 interview with GQ. "I'm genuinely happy with life. And there was a time where I was only happy when I was on the stage, and in the studio. Like it was my escape." After an album-less 2021, he followed up the next year with I Never Liked You, which earned the rapper his eighth chart-topping album and a GRAMMY win for the mega hit "Wait For U" with Drake and Tems. 

Metro wasn't credited on I Never Liked You, but the "Puffin On Zootiez" emcee circled back with his musical companion later that year. The two reunited on other tracks from Metro's Heroes & Villains album, including "Too Many Nights," "I Can't Save You (Interlude)," and ""Lock On Me." And while it may have seemed like Future and Metro disbanded during the five-year stretch, the producer said they never stopped working together.

 "It's crazy, public perception makes it look like we went our separate ways," Metro said in a 2023 interview with Gangsta Grills Radio. "But neither one of us really went nowhere. It's just about the right moment, and I feel like God just brought this moment together."

2024

More than a year before the release of their joint albums, Future hinted at a potential project with his long-time collaborator. In January 2023, the rapper reshared an Instagram post that read, "Future x Metro OTW with the album of the year." But the subtle endorsement failed to highlight how big the joint effort the following year would be. 

In March 2024, Future and Metro confirmed a two-part album release in a 44-second trailer. The duo is seen hopping out of luxury SUVs in the desert, with the late Mobb Deep rapper Prodigy providing the video's contentious narration.  "A lot of f**king garbage ass rappers running around. These n****s ain't supposed to be rapping, man. This game is meant for a select few." 

The first in the series was We Don't Trust You, a 17-song project that combined Metro's cinematic production with Future's street poetics. Kendrick's verse on the single "Like That" sparked a series of diss records between Lamar, Cole, and Drake, with the Comtpon rapper declaring, "Motherf**k the big three, n***a, it's just big me." 

The result was weeks of musical exchanges between the three artists, including a Drake-directed instrumental from Metro called "BBL Drizzy," which the producer encouraged fans to rap over for a chance to win a free beat. The hotly-contested battle, paired with songs like "Type S**t" and The Weeknd-assisted "We Still Don't Trust You," pushed both albums atop the sales and music charts. 

The pair capped off the year with a 27-date North American tour and a handful of nominations at the 2025 GRAMMYs.

2025

While Metro and Boomin went home from the 2025 GRAMMYs empty handed, the duo’s influence remains undeniable. Between the No. 1 records and recognition redefining modern trap music, they have influenced a new generation while staying true to their signature sound. With undeniable chemistry, their legacy is already cemented — but their reign is far from over.

To say that Saint Levant has helped propel Arabic music to new audiences over the last few years would be an understatement. With over 30 million views on YouTube, over 150 million streams on Spotify, and global virality on TikTok, the 24-year-old Palestinian-Algerian artist has already become a household name in the emerging wave of Arabic music.

Known for his trilingual prowess — combining English, French and Arabic in most of his songs — Saint Levant's success is perhaps most attributed to his passion for representing Palestinian culture. The artist has captivated listeners worldwide through his authenticity, as well as his willingness to be both vulnerable about his emotions, and steadfast in wanting Palestine to be at the forefront of music globally — and his latest project furthers his mission.

Titled Love Letters, the six-song double-disc EP creatively explores a range of feelings and emotions that center Palestinian and Arab identity. Saint Levant sonically incorporates elements of Arab melodies and instruments on songs like "DALOONA" and "WAZIRA," along with nods to early '00s R&B on "EXILE" and "DIVA."

Fittingly, Love Letters is an Arab-led effort, featuring collaborations with prominent and influential Palestinian group 47Soul, production from Tunisian powerhouse Ratchopper, co-writing by fellow Palestinian artist Lina Makhoul, and video direction by Algerian-French filmmaker Lyna Zerrouk — just to name a few who have been integral in executing Saint Levant's vision.

It's an effort that's particularly important now, amid the ongoing war between Israel and Gaza that has killed thousands of Palestinians. Saint Levant stresses that it is his duty to speak up for his people.

"You can't claim Palestine and not talk," he emphasizes to GRAMMY.com from his home in Jordan. "You can't claim to be Arab and not talk. You can't claim to be human and not talk. For me, what else am I supposed to do? We were raised in Gaza and we've seen it firsthand and experienced it firsthand, and then we experienced the exile firsthand."

Born in Jerusalem to a French-Algerian mother and a Palestinian-Serbian father, Saint Levant (whose birth name is Marwan Abdelhamid) spent much of his early childhood in Gaza before moving to Jordan. He has remained outspoken throughout his career about his native Palestine.

Earlier songs in Saint Levant's career, like 2020's "Jerusalem Freestyle" and 2021's "Haifa in a Tesla," show glimpses of the advocate he would become. Both feature Saint Levant melodically rapping of a free Palestine and what that life could be for his people.

While his trilingual 2022 hit "Very Few Friends" wasn't as directly tied to his culture, it became a viral sensation on TikTok and hinted at Saint Levant's global appeal. Notably, the success of the song was driven by those who may not understand Arabic or French; it marked a turning point in his career, opening him up to new audiences beyond those in the Middle East, North Africa and the diaspora. To date, it is still his most viewed song on YouTube and his most streamed song across platforms.

Saint Levant further expanded his reach with his album Deira, an homage to Palestine as it's named after a hotel along the coast of Gaza that his father built in the '90s. It marked the first time he tapped into his Algerian roots, featuring traditional Algerian shaabi rhythms and raï influences throughout the album — further cementing the importance of his identity and culture in his artistry.

"I just love the shaabi Algerian mixed with Palestinian because of the histories of these two countries — my two countries — the shared struggle in the context of colonialism," Saint Levant says. "Algeria has given me a lot of hope for Palestine's future."

As his music alludes, everything Saint Levant does is in service to Palestine, and he remains adamant to pursue change beyond his career as an artist. He launched the 2048 Foundation in 2022, dedicated to helping fund Palestinian entrepreneurs and bringing their ideas to life. As he perks up in his seat when the foundation comes up in conversation, it's clear that 2048 is a major passion project for him.

"We're doing a feasibility study, an ecosystem-mapping study to see what the Palestinian creative ecosystem needs," he excitedly explains. "What do the people actually need? Where are the organizations that already exist and what are they doing? Let's map it and see what our role is. There's so much potential there, but it needs to be unified. There needs to be proper funding, and it should be through an economic development lens."

While his culture has always been integral to who he is, Saint Levant credits his father for sparking his interest in music; as he recalls, his dad played everything from Lenny Kravitz and Timbaland to Serbian composer Goran Bregovic and Algerian raï icon Cheb Mami. His father now plays an integral role in his career, serving as a constant source of support as the singer navigates his growing success.

Saint Levant's love of music quickly resulted in a penchant for performing — beginning as early as third grade, when he and a few friends reenacted the dance routine to Michael Jackson's" Smooth Criminal." He first began releasing and performing his original music while attending the University of California Santa Barbara, earning an invite to showcase his music (alongside Egyptian singer Bayou) for the University of Arizona's Arab Student Association during his senior year.

The singer beams sharing this story, which serves as a reminder of his grassroots beginnings. But it also reminds Saint Levant of the role his upbringing has played into his career, emphasizing that performing Palestinian and Arab music for audiences at a community level is "how you make an impact" in changing societal perceptions.

As Saint Levant's success continues to grow, he's also faced criticism for his approach from Arab listeners in particular. On one hand, many applaud the sensuality and the different side of Arab masculinity not typically seen at this level in Arabic music, where he feels incredibly comfortable in his skin and is willing to show it. Yet some don't respect his musical talents and see Saint Levant as too controversial, or even too forced, at times.

Even so, Saint Levant insists that he feels more love than hate — particularly when he's on stage — and that naysayers won't slow him down. In fact, the artist welcomes any polarization, citing artists like Bad Bunny and Peso Pluma who he says similarly get hate but "don't take it to heart."

"[People] have this idea of what you should do, what you shouldn't do, and I've never been like that," he adds. "I'm a straight Arab man who used to paint his nails. I'm just going to do what I want to do. I'm not going to apologize for who I am."

Though he's a mere five years in, Saint Levant is already sure he doesn't want to do music for the rest of his life ("I don't want to be an old head," he jokes). As his career has indicated so far, his ultimate goal is to aid the liberation of Palestine — whether through music or other means.

"The world needs more Palestinian ideas," he says with a smile.