The Art of Album Covers in Afrobeats
On the 25th of April, Athar Jaber released the first glimpse of Asake’s sculptural artwork for his fourth studio album, M$ney, and it immediately had the internet in a chokehold.
It wasn’t just about the album cover reveal. The sculpture, which evolved alongside the album cover, created a sense of anticipation that extended beyond music, drawing audiences from both the art world and Afrobeats culture. It was a visual rollout that unfolded in real time.
Not only was it a visual moment that had everyone talking, but it also quietly reinforced just how important album covers remain in music culture.
Something about a well-known Iranian-Dutch sculptor carving the artwork from prestigious Statuario marble screamed “Money” in every sense of the word.
Over the years, Afrobeats artists have produced some of the most intentional album covers in contemporary African music.
Here are some of our favourites so far:
Mr Eazi — Life is Eazi, Vol. 1: Accra to Lagos
Mr Eazi’s Life is Eazi, Vol. 1: Accra to Lagos houses one of his most celebrated records, “Leg Over.” Beyond the music, the cover captures his identity in transit.
He is seen with his back turned, holding a travel bag, dressed in an agbada made from what is popularly referred to as “Ghana Must Go” material in Nigeria.
It serves as a visual metaphor for movement between the two countries that shaped his sound.
BNXN — Sincerely, Benson
Similar to Asake’s M$ney cover, BNXN’s Sincerely, Benson features a bust portrait of the artist, surrounded by floating flowers and love letters.
The visual language feels deeply personal, almost like a love letter.
That emotional framing mirrors the album’s tone, where vulnerability sits at the centre of the storytelling, especially on “Pidgin & English.”
Burna Boy —Twice as Tall
Following the success of African Giant, Burna Boy returned with Twice as Tall in 2020. The cover presents a low-angle shot of him with one foot raised, creating an imposing visual stance.
It coincidentally gives a visual description to the phrase “stepping on their necks”. It’s also very fitting that his song “Way Too Big” resides on that album.
Davido — A Better Time
While most of Davido’s album covers are colorful and busy, A Better Time takes a softer, more intimate approach.
The monochrome cover shows him cradling and kissing his late son, Ifeanyi Adeleke.
Whether intentional or not, the cover alongside the title of the album gives the impression that Ifeanyi arrived and made Davido’s life “A Better Time.”
Rema — HEIS
Rema’s HEIS continues his pattern of experimentation.
Unpredictable as the album itself, the cover features a caricature of the artist adorned with a bold gold chain and bat pendant, with matching bats in the background.
It leans into surrealism, reflecting his Benin roots and houses his most pompous tracks like “March Am,” “HEHEHE,” “Ozeba,” and “Yayo.”
Taken together, these covers show that album art in Afrobeats is not an afterthought but an integral part of storytelling.
In many cases, it is the first chapter that sets the tone, identity, and emotion of the project before a single sound is heard.
