I aspire to be like her!!!

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@masixolemange
I aspire to be like her!!!
Watching Tyla transform from a TikTok sensation into a permanent fixture in global pop music is so satisfying. she has maintained a level of staying power that many viral artists struggle to achieve.
Since the album's release on 03/22/24, Driven by the massive success of "Water", which surpassed 1 billion streams on Spotify, the album collectively achieved the highest first week streams ever by an African artist, beating out established African act like Burna Boy.
To extend the album's life cycle, Tyla released the deluxe version, Tyla+, in late 2024. This edition introduced hits like "Push 2 Start" and "Shake AH", which ensured her music stayed on the charts through 2025 and into 2026, and that’s on period.
THE DEVASTATING TRUTH OF SOUTH AFRICAN MUSIC AND SOUTH AFRICAN MUSIC INDUSTRY!
The golden era of South African music, spanning from the 90s through the late 2010s, was defined by a lyrical depth that served as the heartbeat of the nation.
The 2000s era of Zola’s "Lwandle" or the sophisticated House of Bongo Maffin, which had depth and cultural appeal much of today's sound feels hollow.
The rise of sub-genres like Gqom and the current explosion of Amapiano have introduced a worrying trend of "functional" music. We’ve moved into a space where the music is often short-lived because it lacks a narrative soul. By relying almost exclusively on the "vibe" and the hypnotic repetition of the log drum, many modern artists have abandoned the craft of songwriting.
The gritty storytelling of Kwaito, the soulful narratives of House, or the soaring melodies of Afro-dance pop, the writing carried a cultural weight that transcended language barriers. Artists like Brenda Fassie with "Vul'indlela" or Malaika with "Destiny" created anthems that moved the feet but also touched the soul.
Back in the days, even if you didn’t understand every word of the vernacular, you felt the intentionality behind the pen. The creative architecture that ensured those tracks didn’t just top charts but became part of our collective DNA.
Nowadays, music has become atmospheric rather than emotional; it’s designed to be consumed in a moment and discarded when the next viral loop arrives.
This lack of creativity in writing is a primary reason why so much local talent struggles to maintain a permanent seat at the global table. Without a story to attach to the rhythm, the music lacks the cultural longevity required to make a lasting impact beyond a seasonal trend.
[ @ArthurMafokate @mdu_masilela
@OfficialZola7 @DJFreshSA
@OskidoIBelieve @KabeloMabalane
@ZwaiBala @Mafikizolo_SA @TheoKgosinkwe @NhlanhlaMafu @thandiswamazwai @stoanito @speedy_da_gift @YvonneChakaX2 @HipHopPantsula
@SlikourOnLife @ProVerbMusic @DjMaphorisa @KabzaDeSmall_ @MAJORLEAGUEDJZ @unclewaffless @Kamo_Mphelexx @YoungStunna_RSA @mfr_souls @MrJazziQ @DBNGOGO @pabi_cooper ]
“You are not doing enough, you need to fix this because, the very thing the same thing that is lacking “complex writing” is sometimes what makes the music easier to export.
Instrumental heavy tracks bypass language barriers. However, longevity usually requires a deeper emotional hook, because without a "story" to attach to the beat, the music risks becoming background noise for a global audience only when the specific "trend" of the rhythm fades.
Please don’t embarrass yourselves and the legacy you’ve built in a time of digital steaming and Spotify stats.” 😭😭😭
The Grammys which are happening today, have a huge interest in making sure the Best African Music Performance category feels like a unified celebration rather than a fan war. Meanwhile, failing to respect African music and African artists and their contributions to the music industry at large.
They of course, individually and as an institution would look stupid if they completely ignore how music and it’s dynamic has completely changed the past decade and a half, but because their not progressive they box African artists as African music. You tell me why in “Biggest Musics Night” there’s still no Afro pop, House/ Gqom , Amapiano, African Gospel genre categories considering how much of what is “Pop and R&B” is completely influenced by African and Latin music, on the same breath there’s Latin and K-pop music.
The Grammys PR was working overtime to soften the wounds with that Tyla & Ayra dance break. 🙄 It’s so performative. The industry loves a forced narrative for the sake of 'balance' right before the awards. I’m not buying it!
while names like Kelly Rowland, Wizkid, and Chloe Bailey were linked to her 24th birthday celebrations in LA this past week, Ayra’s absence was noticeable to anyone following the fan-base dynamics. For two people "dancing together" for the cameras, not showing up for a milestone birthday definitely supports your theory that the bond might be more professional than personal. Keep the same energy when the cameras aren't rolling.
And for what it’s worth, the fan driven, sometimes very toxic and disrespect rivalry between tygers and mob flopstars is the sole reason why this Category is getting this much attention. So pipe tf down, you should be great to these two talented women and their fans (however yall my feel about us) 🇿🇦🇳🇬
#Grammys #Tyla #AyraStarr #GrammyStunts
THE DEVASTATING TRUTH OF SOUTH AFRICAN MUSIC AND SOUTH AFRICAN MUSIC INDUSTRY!
The golden era of South African music, spanning from the 90s through the late 2010s, was defined by a lyrical depth that served as the heartbeat of the nation.
The 2000s era of Zola’s "Lwandle" or the sophisticated House of Bongo Maffin, which had depth and cultural appeal much of today's sound feels hollow.
The rise of sub-genres like Gqom and the current explosion of Amapiano have introduced a worrying trend of "functional" music. We’ve moved into a space where the music is often short-lived because it lacks a narrative soul. By relying almost exclusively on the "vibe" and the hypnotic repetition of the log drum, many modern artists have abandoned the craft of songwriting.
The gritty storytelling of Kwaito, the soulful narratives of House, or the soaring melodies of Afro-dance pop, the writing carried a cultural weight that transcended language barriers. Artists like Brenda Fassie with "Vul'indlela" or Malaika with "Destiny" created anthems that moved the feet but also touched the soul.
Back in the days, even if you didn’t understand every word of the vernacular, you felt the intentionality behind the pen. The creative architecture that ensured those tracks didn’t just top charts but became part of our collective DNA.
Nowadays, music has become atmospheric rather than emotional; it’s designed to be consumed in a moment and discarded when the next viral loop arrives.
This lack of creativity in writing is a primary reason why so much local talent struggles to maintain a permanent seat at the global table. Without a story to attach to the rhythm, the music lacks the cultural longevity required to make a lasting impact beyond a seasonal trend.
[ @ArthurMafokate @mdu_masilela
@OfficialZola7 @DJFreshSA
@OskidoIBelieve @KabeloMabalane
@ZwaiBala @Mafikizolo_SA @TheoKgosinkwe @NhlanhlaMafu @thandiswamazwai @stoanito @speedy_da_gift @YvonneChakaX2 @HipHopPantsula
@SlikourOnLife @ProVerbMusic @DjMaphorisa @KabzaDeSmall_ @MAJORLEAGUEDJZ @unclewaffless @Kamo_Mphelexx @YoungStunna_RSA @mfr_souls @MrJazziQ @DBNGOGO @pabi_cooper ]
“You are not doing enough, you need to fix this because, the very thing the same thing that is lacking “complex writing” is sometimes what makes the music easier to export.
Instrumental heavy tracks bypass language barriers. However, longevity usually requires a deeper emotional hook, because without a "story" to attach to the beat, the music risks becoming background noise for a global audience only when the specific "trend" of the rhythm fades.
Please don’t embarrass yourselves and the legacy you’ve built in a time of digital steaming and Spotify stats.” 😭😭😭
Tyla is such a fascinating and quite important study in the current industry. She is essentially acting as a bridge, moving away from the "anonymous producer" era of Amapiano where the vocalist was just another layer of the beat, and toward a narrative-driven pop star model.
Tyla won her second #Grammy for “Push 2 Start.” This back-to-back win proves that the industry is hungry for African music that has commercial depth. She’s proving that South African sounds don’t have to be "niche" or "seasonal" if the writing is strong enough to compete with Western pop standards.
She’s the woman who made the world listen... by giving South Africans the opportunity to show the culture and be authentic about it.
THE DEVASTATING TRUTH OF SOUTH AFRICAN MUSIC AND SOUTH AFRICAN MUSIC INDUSTRY!
The golden era of South African music, spanning from the 90s through the late 2010s, was defined by a lyrical depth that served as the heartbeat of the nation.
The 2000s era of Zola’s "Lwandle" or the sophisticated House of Bongo Maffin, which had depth and cultural appeal much of today's sound feels hollow.
The rise of sub-genres like Gqom and the current explosion of Amapiano have introduced a worrying trend of "functional" music. We’ve moved into a space where the music is often short-lived because it lacks a narrative soul. By relying almost exclusively on the "vibe" and the hypnotic repetition of the log drum, many modern artists have abandoned the craft of songwriting.
The gritty storytelling of Kwaito, the soulful narratives of House, or the soaring melodies of Afro-dance pop, the writing carried a cultural weight that transcended language barriers. Artists like Brenda Fassie with "Vul'indlela" or Malaika with "Destiny" created anthems that moved the feet but also touched the soul.
Back in the days, even if you didn’t understand every word of the vernacular, you felt the intentionality behind the pen. The creative architecture that ensured those tracks didn’t just top charts but became part of our collective DNA.
Nowadays, music has become atmospheric rather than emotional; it’s designed to be consumed in a moment and discarded when the next viral loop arrives.
This lack of creativity in writing is a primary reason why so much local talent struggles to maintain a permanent seat at the global table. Without a story to attach to the rhythm, the music lacks the cultural longevity required to make a lasting impact beyond a seasonal trend.
[ @ArthurMafokate @mdu_masilela
@OfficialZola7 @DJFreshSA
@OskidoIBelieve @KabeloMabalane
@ZwaiBala @Mafikizolo_SA @TheoKgosinkwe @NhlanhlaMafu @thandiswamazwai @stoanito @speedy_da_gift @YvonneChakaX2 @HipHopPantsula
@SlikourOnLife @ProVerbMusic @DjMaphorisa @KabzaDeSmall_ @MAJORLEAGUEDJZ @unclewaffless @Kamo_Mphelexx @YoungStunna_RSA @mfr_souls @MrJazziQ @DBNGOGO @pabi_cooper ]
“You are not doing enough, you need to fix this because, the very thing the same thing that is lacking “complex writing” is sometimes what makes the music easier to export.
Instrumental heavy tracks bypass language barriers. However, longevity usually requires a deeper emotional hook, because without a "story" to attach to the beat, the music risks becoming background noise for a global audience only when the specific "trend" of the rhythm fades.
Please don’t embarrass yourselves and the legacy you’ve built in a time of digital steaming and Spotify stats.” 😭😭😭
THE DEVASTATING TRUTH OF SOUTH AFRICAN MUSIC AND SOUTH AFRICAN MUSIC INDUSTRY!
The golden era of South African music, spanning from the 90s through the late 2010s, was defined by a lyrical depth that served as the heartbeat of the nation.
The 2000s era of Zola’s "Lwandle" or the sophisticated House of Bongo Maffin, which had depth and cultural appeal much of today's sound feels hollow.
The rise of sub-genres like Gqom and the current explosion of Amapiano have introduced a worrying trend of "functional" music. We’ve moved into a space where the music is often short-lived because it lacks a narrative soul. By relying almost exclusively on the "vibe" and the hypnotic repetition of the log drum, many modern artists have abandoned the craft of songwriting.
The gritty storytelling of Kwaito, the soulful narratives of House, or the soaring melodies of Afro-dance pop, the writing carried a cultural weight that transcended language barriers. Artists like Brenda Fassie with "Vul'indlela" or Malaika with "Destiny" created anthems that moved the feet but also touched the soul.
Back in the days, even if you didn’t understand every word of the vernacular, you felt the intentionality behind the pen. The creative architecture that ensured those tracks didn’t just top charts but became part of our collective DNA.
Nowadays, music has become atmospheric rather than emotional; it’s designed to be consumed in a moment and discarded when the next viral loop arrives.
This lack of creativity in writing is a primary reason why so much local talent struggles to maintain a permanent seat at the global table. Without a story to attach to the rhythm, the music lacks the cultural longevity required to make a lasting impact beyond a seasonal trend.
[ @ArthurMafokate @mdu_masilela
@OfficialZola7 @DJFreshSA
@OskidoIBelieve @KabeloMabalane
@ZwaiBala @Mafikizolo_SA @TheoKgosinkwe @NhlanhlaMafu @thandiswamazwai @stoanito @speedy_da_gift @YvonneChakaX2 @HipHopPantsula
@SlikourOnLife @ProVerbMusic @DjMaphorisa @KabzaDeSmall_ @MAJORLEAGUEDJZ @unclewaffless @Kamo_Mphelexx @YoungStunna_RSA @mfr_souls @MrJazziQ @DBNGOGO @pabi_cooper ]
“You are not doing enough, you need to fix this because, the very thing the same thing that is lacking “complex writing” is sometimes what makes the music easier to export.
Instrumental heavy tracks bypass language barriers. However, longevity usually requires a deeper emotional hook, because without a "story" to attach to the beat, the music risks becoming background noise for a global audience only when the specific "trend" of the rhythm fades.
Please don’t embarrass yourselves and the legacy you’ve built in a time of digital steaming and Spotify stats.” 😭😭😭
“A-POP” NOT “African Pop”
The narrative that Tyla’s sophomore album title, “A-POP”, is a literal acronym for “African Pop” is more of an industry assumption than a fact confirmed by the Tyla herself.
It’s easy for everyone especially critics and media outlets to reach for a geographic label, though it completely and intentionally ignorant to Tyla’s consistent effort to transcend regional boundaries, and that’s some bs
Labeling the project as "African Pop" implies a niche, a "world music" subgenre, whereas Tyla’s actual strategy has been to compete on the same level as the world's mainstream
Tyla has proven that she is a genre-fluid artist who refuses to be sidelined into “urban” or “continental” categories. By calling her album “A-POP”, she is likely signaling the arrival of a new, borderless standard of music where being from Africa is a superpower, not a restriction.
“A-POP” NOT “African Pop”
The narrative that Tyla’s sophomore album title, “A-POP”, is a literal acronym for “African Pop” is more of an industry assumption than a fact confirmed by the Tyla herself.
It’s easy for everyone especially critics and media outlets to reach for a geographic label, though it completely and intentionally ignorant to Tyla’s consistent effort to transcend regional boundaries, and that’s some bs
Labeling the project as "African Pop" implies a niche, a "world music" subgenre, whereas Tyla’s actual strategy has been to compete on the same level as the world's mainstream
Tyla has proven that she is a genre-fluid artist who refuses to be sidelined into “urban” or “continental” categories. By calling her album “A-POP”, she is likely signaling the arrival of a new, borderless standard of music where being from Africa is a superpower, not a restriction.
Apple Music on Tyla
“Tyla creates music that is at once indelibly South African and ambitiously global. It's a unique balance, one moulded by the sounds she heard as a child growing up in Johannesburg. Hypnotic enough for dance music yet packed with pop’s effortless catchiness and R&B’s undiluted soulfulness.”
This dance break is on of the highlight Tyla’s performance, because this is her being the best on the one of the biggest stages on tv, authentic, true to her and who she is on her own, no glitz and flashy ground dancers and perfectly curated choreography. Just Tyla doing what she loves and I’m here for all of it.
Happy Birthday to the girl who changed the game, @Tyllaaaaaaa . 🐅🇿🇦 Today isn't just about another year; it’s about the fact that you actually did what they said was impossible. seeing you navigate this level of stardom and consciously choosing to staying on being your authentic self, knowing who you are, witnessing that has been nothing short of a masterclass.
You thrived. You’ve brought a level of discipline and star power that we have not seen. Today, we celebrate the hustle behind the glamour. We celebrate the vocals that have only gotten sharper and the vision that stays three steps ahead of the industry. You are this generation and generations to come blueprint for what it means to be a global icon from Jo’burg.
The bar is high because you set it there. Keep pushing. Enjoy your day, Princess. The throne looks good on you. 🌊🥂✨"
Grammy Award Winning global superstar Tyla [@Tyllaaaaaaa ] is set to perform at the
AFRO TOPIA Music Festival. Set to take place from 24th-26th April 2026 at the iconic Kasarani Stadium in Nairobi, alongside stars like @iamcardib - @wizkidayo - @skeng - #450- #STEFLONDON - @DjMaphorisa - @KabzaDeSmall_ - #EEMOH
Tyla celebrated her 24th birthday at Tavares in Hollywood
The Grammys which are happening today, have a huge interest in making sure the Best African Music Performance category feels like a unified celebration rather than a fan war. Meanwhile, failing to respect African music and African artists and their contributions to the music industry at large.
They of course, individually and as an institution would look stupid if they completely ignore how music and it’s dynamic has completely changed the past decade and a half, but because their not progressive they box African artists as African music. You tell me why in “Biggest Musics Night” there’s still no Afro pop, House/ Gqom , Amapiano, African Gospel genre categories considering how much of what is “Pop and R&B” is completely influenced by African and Latin music, on the same breath there’s Latin and K-pop music.
The Grammys PR was working overtime to soften the wounds with that Tyla & Ayra dance break. 🙄 It’s so performative. The industry loves a forced narrative for the sake of 'balance' right before the awards. I’m not buying it!
while names like Kelly Rowland, Wizkid, and Chloe Bailey were linked to her 24th birthday celebrations in LA this past week, Ayra’s absence was noticeable to anyone following the fan-base dynamics. For two people "dancing together" for the cameras, not showing up for a milestone birthday definitely supports your theory that the bond might be more professional than personal. Keep the same energy when the cameras aren't rolling.
And for what it’s worth, the fan driven, sometimes very toxic and disrespect rivalry between tygers and mob flopstars is the sole reason why this Category is getting this much attention. So pipe tf down, you should be great to these two talented women and their fans (however yall my feel about us) 🇿🇦🇳🇬
#Grammys #Tyla #AyraStarr #GrammyStunts
The Grammys which are happening today, have a huge interest in making sure the Best African Music Performance category feels like a unified celebration rather than a fan war. Meanwhile, failing to respect African music and African artists and their contributions to the music industry at large.
They of course, individually and as an institution would look stupid if they completely ignore how music and it’s dynamic has completely changed the past decade and a half, but because their not progressive they box African artists as African music. You tell me why in “Biggest Musics Night” there’s still no Afro pop, House/ Gqom , Amapiano, African Gospel genre categories considering how much of what is “Pop and R&B” is completely influenced by African and Latin music, on the same breath there’s Latin and K-pop music.
The Grammys PR was working overtime to soften the wounds with that Tyla & Ayra dance break. 🙄 It’s so performative. The industry loves a forced narrative for the sake of 'balance' right before the awards. I’m not buying it!
while names like Kelly Rowland, Wizkid, and Chloe Bailey were linked to her 24th birthday celebrations in LA this past week, Ayra’s absence was noticeable to anyone following the fan-base dynamics. For two people "dancing together" for the cameras, not showing up for a milestone birthday definitely supports your theory that the bond might be more professional than personal. Keep the same energy when the cameras aren't rolling.
And for what it’s worth, the fan driven, sometimes very toxic and disrespect rivalry between tygers and mob flopstars is the sole reason why this Category is getting this much attention. So pipe tf down, you should be great to these two talented women and their fans (however yall my feel about us) 🇿🇦🇳🇬
#Grammys #Tyla #AyraStarr #GrammyStunts