#AMAKAxNewAfricanWoman

Since its inception, afrobeats has been a global sound. 

Taking influenced from fuji music and highlife, mixed in with jazz and funk, Afrobeats is a sonic testament to the Black Atlantic, with the colonial era introducing an influx of global sounds to African audiences. In West Africa, the Kru people of Libera and Sierra Leone's introduction to Portuguese guitars, combines with local melodies and Trinidadian calypso led to the emergence of Palm Wine Music, a syncretic blend of sounds characterised by syncopated sweet guitars, percussion and layered vocal harmonies. 

At the core of this sound was storytelling. From Ghanaian highlife musician Gyedu Blay Ambolley exploring themes of escapism, pan africanism and gospel like motivation over the lilting melodies of guitars, brassy horns, rhythmic drums and percussion : to the godfather of afrobeat, Fela Aníkúlápó Kuti's afrobeat etched in African freedom and resistance criticising colonial leaders and the Nigerian government, and South African freedom songs using collective singing in isiZulu and isiXhosa to assert defiance against apartheid. 

Continuing this legacy of storytelling and amalgamating sounds, Ayra Starr's sophomore album "The Year I Turned 21", is a long awaited coming of age tale that deeply resonates with young Nigerian women. 

Marvellously merging nostalgic melodies with a contemporary afrobeat rhythm ; Ayra Starr explores genres, incorporating R&B, Latin pop, Jamaican dancehall, Yoruba gospel and more, whilst remaining firmly loyal to afrobeats. 

She tells Apple Music "every song is an episode", and in 40 minutes across 14 songs, the album feels like a sonic diary with Ayra sharing stories of love, life and loss. 

Opening with her Orikï (a poetic Yoruba enchantment expressing what a child is or is to become), Ayra Starr, Omo Ologo, A Child of Grace, Has Arrived. 

There is a familiarity to "The Year I Turned 21". It is a youthful exploration of love, heartbreak and loss ; however, it ultimately encourages listeners to "go out and enjoy what you worked for" - something her late father did not get the chance to. 

A month into my 20 somethings, this album could not have come at a better time. Ayra vocalises emotions I've experienced and thoughts I've had that I've been unable to convey. Perfectly capturing thee essence of youth and womanhood, Ayra takes us on a journey of operating in confidence, reckless romance and trusting God's goodness. 

Birds sing of money, the first episode of this TV show like album, with production reminiscent of  early 2000s pop ballads, often featured in teenage coming of age movies, sees Ayra assured in her abilities. She's settled and she's "running up shots, running up blocks and she doesn't watch her tone because she likes how it sounds, BITCH". 

Maintaining her confidence and high energy, in Goodbye (Warm Up) featuring Asake, Ayra sings about freeing herself from romantic relationships that no longer serve her and moving on to her next on top of a groovy jazz inspired production. 

Commas, acknowledging God's grace in her life sees Ayra singing "I carry God so I fear nothing", and urging listeners to "put their body and soul" into making their dreams come true. 

Commando borrows Latin pop sounds, but remains integral to her afrobeats background. Featuring Anitta and Coco Jones, Ayra lets defiers know to "follow the woman commando". 

"Go Ayra, Go Ayra, Go", is chanted at the end of Control where Ayra, secure in her sexuality, interpolates Shakira's 'hips don't lie' in a bold, romantic track reminding me of my own youthful romantic endeavours. This romance, is continued in Lagos Love Story, where Ayra jokingly teases the idea of having children as she's so deeply in love. 

Accompanied by Seyi Vibes in Bad Vibes, Ayra tells of haters letting them she "no dey throw bad vibes", and she's only here for where "the money dey". 

Extremely reminiscent of Yoruba live bands, Ayra continues to sing about the significance of God's presence in her life in Orun. She speaks about the uniqueness of her journey singing "eni t'onwor bata l'onmo ibi ton ti ta lese". She's aware of her pioneering position as a leading afrobeats artist and she knows "she's making history", and she "doesn't think there's ever been any like [her] in these parts". 

Closing the album, Ayra is  straight a student of Nigerian music, as she samples Wande Coal's "You Bad" in Jazzy's Song. 

The Album ends with Ayra's family's eulogy to her late father in The Kid's are Alright. It is an intimate tear jerking tribute to her late father, where she "hopes [she's ] out here making [him]m proud." The song opens with a voice note from her mum urging her to enjoy her life to the fullest . It ends with her siblings giving her late father an update on their lives. 

"This is a coming of age story. The rollercoaster of emotions and genres intertwined tells the story of a 21 year old African girl and a superstar. Twenty One isn't just an age, it's a moment of change in your life. A time of necessary growth, hurt, realising your power ... love. Not everyone's '21' happens at 21. Whatever it is for you ; learn from it, feel through it ... that's what matters". 

The Year I Turned 21 is an undeniably great project leaving listeners with a better informed idea of Ayra. Who she is, what she's been through and who she wants us to be. 

Sabi girls who are confident, secure and assured. 

Ayra Starr is a sabi girl and her grace is straight from Jehovah.