Nigerian singer Ayra Starr has offered a notably different perspective on the most influential figures in Afrobeats, naming her personal “Big 3” and diverging from the genre’s commonly accepted hierarchy.
In an interview with Hot 97 FM, Starr selected Tiwa Savage, Wizkid, and Rema as the greatest Afrobeats artists of all time. Her list conspicuously omits Davido and Burna Boy, who are frequently cited alongside Wizkid as the de facto “Big 3” of the contemporary Afrobeats movement. Starr affirmed her choice with confidence, stating, “My Afrobeats Big 3 would be Tiwa Savage, Wizkid and Rema. My solid Big 3.”
The selection highlights a generational shift, positioning Rema—a key pioneer of the genre’s recent global surge—in the top tier while acknowledging foundational female artist Tiwa Savage. This perspective contrasts with industry narratives that have long focused on the male-dominated trio of Wizkid, Davido, and Burna Boy.
In a separate conversation with Angela Yee, Starr detailed her decision to relocate from Nigeria to New York City. She explained that spending two prior summers in New York, including a three-month stint in the Hell’s Kitchen neighborhood with friends, solidified her preference. The experience of consuming American media and culture alongside her social circle was a key factor.
“I spent the last two summers in New York and last summer I lived in Hell’s Kitchen for about three months with my friends. We were watching American shows and movies. It was fun,” Starr said. She also cited a long-held personal ambition to live in America. Practical considerations led her to choose New York over Los Angeles; she noted Nigeria’s nine-hour time difference with the U.S. West Coast made Los Angeles less feasible for maintaining connections and workflow.
Starr’s relocation underscores the increasing physical and professional mobility of Afrobeats artists as the genre achieves international prominence. Moving to a global hub like New York facilitates industry networking, creative collaboration, and direct access to international markets.
Her public delineation of an alternative “Big 3” is likely to fuel discussion about legacy and influence within Afrobeats. As a rapidly rising star with a distinct musical style, Starr’s choices reflect the evolving tastes and perspectives of a new generation of both artists and listeners, potentially reshaping the conversation around the genre’s canonical figures. Her combined personal and professional moves signal an artist actively engaging with the global stage on her own terms.
