Revisiting Burna Boy’s “African Giant”

What inspires people to aim for greatness? Is it the draw of fame, the quest for excellence, or the deep-seated desire to make a mark on the world? For many, it is the complex interplay of ambition, ardour, and an unflinching belief to make a difference. For Burna Boy, however, it was perhaps his refusal to be overlooked. Reflecting on the critical moments in music and pop culture in 2019, Burna Boy’s audacious declaration to  Coachella remains unforgettable. “@coachella really appreciate you. But I don’t appreciate the way my name is written So small in your bill. I am an AFRICAN GIANT,” he proclaimed via his IG story, challenging the music festival’s perceived slight.

To many, this might have seemed an outburst of sheer arrogance—a proud, cocky declaration from an artist daring to demand his place in the pantheon of global music. Yet, in that moment of perceived defiance, Burna Boy sowed the seeds of a vision that would redefine his career and alter the course of Afrobeats on the international stage. The album that followed, aptly named African Giant, did more than echo Burna Boy’s self-proclamation—it broke barriers and opened the hallowed doors of the Grammys to contemporary African artists.

I first heard Burna Boy’s music in 2011, long before the era of diversified fandoms like “Wizkid FC,” “30BG,” and “Outsiders.” Back then, he epitomized a confluence of Afrobeats and dancehall, with his adept utilization of Jamaican patois markedly distinguishing him from his contemporaries. My uncle would play his songs on the car stereo, and even though his sound was totally different from the conventional Afropop music landscape, I enjoyed it. At that time, the music of Wizkid, Davido, and Olamide dominated the zeitgeist of Nigerian music, and it was rare to hear Burna Boy’s tracks at parties, barber shops or even on the radio. However, in 2014, I fell deeply in love with his music, thanks to Soundcity’s repeated airing on the now-collapsed HITV of the music video for All Eyes On Me  by the late AKA, featuring Burna Boy, Da Les, and JR. I would sing the chorus loudly, “All eyes on me, I see nobody, stick ’em up and freeze, while I steal the show, it’s a robbery!”

Fast-forward to July 26, 2019, when Burna Boy released his fourth album, African Giant. However, before the arrival of this iconic project, he had one foot out in the global music scene with his 2018 Afrobeats track, Ye, from his Outside album. Ye dominated the airwaves within Africa and also gained substantial international acclaim.

Beyond being a captivating hit worthy of recognition, Ye also benefited from the coincidental release of Kanye West’s album of the same title, which led many listeners to discover Burna Boy’s track while searching for Kanye West’s album, inadvertently amplifying its reach. By the time African Giant was released, Burna Boy had already garnered a significant following and piqued the interest of a global audience. The album’s release was met with anticipation and excitement, as fans and critics alike were eager to see what the artist who had given them Ye would deliver next. 

The titular intro track, African Giant, displayed Burna Boy’s braggadocio as he emphasised his musical prowess. With a swaggering delivery, he strips away the layers of performative respectability politics often expected in the Nigerian music industry. He declares his identity as an “African Giant”, fully cognizant of his influential role in the evolution of contemporary pop music history. It’s not clear who he addresses when he sings, “I been dey answer them yes sir, Now na me dem dey answer yes sir”, but the message is loud and clear: Burna Boy was once underrated, yet he has now ascended the throne. 

Burna Boy understands that he cannot truly embody the “African Giant” title without demonstrating its essence. On Dangote, the song named after Africa’s richest man and business tycoon, Alhaji Aliko Dangote, he offers sage advice reminiscent of a father’s wisdom. Success can often lead to complacency, but Burna Boy counters this with the powerful line, “Dangote still dey find money, why me no go find money,” reminding listeners that even in victory, the hustle never stops.

To be an African Giant is to be courageous and willing to speak truth to power. This fearlessness is evident in tracks like Collateral Damage and Another Story featuring M.anifest, where he explores Nigeria’s turbulent history and deconstructs the narratives that have shaped the nation since its independence in 1960. Beyond his persona as the African Giant, Burna Boy still sings about romance and love with profound passion and emotion. Each note is delivered with intensity, as if he is experiencing the emotions in real time. Songs like Secret featuring Jeremih and Serani and Gum Body with the R&B/soul singer, Jorja Smith, are filled with deep sensual lines. It’s no surprise that these tracks remain staples in his live performances.

Five years later, we can attest to Burna Boy having lived up to the “African Giant” prophecy. He has evolved musically, won a Grammy, received multiple nominations, shut down significant arenas worldwide, and made history as the first African artist ever to sell out a US stadium. Always showcasing a sophistication that sets him apart as a superset—an artist who can do what others can and more—Burna Boy exudes the confidence of a person who does whatever he wants, simply because he can.

African Giant remains a prime example of what a cohesive album should be in recent years, standing as a testament to Burna Boy’s enduring legacy and towering influence in the global music landscape.

Abioye Damilare is a music journalist and culture writer on the Africna entertainment indutsry. Reading new publications and listening to music are two of his favourite pastimes when he is not writing.