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Centre Bell | Montreal, QC

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Here Is Ayra Starr’s ’21: The World Tour’ Setlist

Ayra Starr ended last year by collaborating with Wizkid , and she hopped on Bien’s “ My Baby ” in early 2023. But now it’s all about her.

“It’s my first headline tourrrrr !!!” Starr wrote in an Instagram post on July 12 announcing her 21: The World Tour . “I’ve been touring around the world, opening for other artists, opening stages at festivals, Now it’s an Ayra Starr show !”

View this post on Instagram A post shared by Celestial being 👼🏾🤍🎖 (@ayrastarr)

The tour will have three legs — North America, Africa and Australia, and Europe — and it began in Houston, Texas on July 27. So far, Starr has staged nine shows, including stops in Boston, Chicago, New York City, and Toronto. She will next perform on Wednesday night, September 6, in Charlotte, North Carolina, with the North American leg scheduled to wrap on September 19 in Vancouver, British Columbia.

Starr won’t have much rest before starting her trek across Africa and Australia, beginning on September 30 in the latter’s Gold Coast. The European leg will kick off on November 3 in Stockholm, Sweden and wrap with a grand finale in Zurich, Switzerland on November 30.

If you’re planning on attending any of the remaining dates, check out Starr’s setlist (as chronicled by setlist.fm based on her September 2 show at Webster Hall in New York City).

1. “Intro” 2. “Toxic” 3. “Away” 4. “2 Sugar” 5. “Crazy” 6. “Beggie Beggie” 7. “People” (Feat. Arya Starr and Omah Lay ) 8. “Love Don’t Cost A Dime (Re-Up)” 9. “Overloading (OVERDOSE)” 10. “Won Da Mo” 11. “Running” 12. “Stamina” 13. “Bridgertn” 14. “Ase” 15. “Fashion Killer” 16. “Bloody Samaritan” 17. “Rush” 18. “Sability”

Omah Lay is a Warner Music artist. .

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ayra starr tour dates 2024

ayra starr is currently touring across 2 countries and has 5 upcoming concerts.

Their next tour date is at Bell Centre in Montreal, after that they'll be at Scotiabank Arena in Toronto.

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21: The World Tour

Ancienne belgique, grosse freiheit 36, teatro centrale, 02 institute, teatro barcelo, apollo live, rocking the daisies, doug jennings park, enso event centre, fonda theatre, the echo lounge & music hall, buckhead theatre, the underground, webster hall, thalia hall, the phoenix concert theatre, dmv, prince george's stadium, rise rooftop.

with Chris Brown and Maeta

with Sum 41, The Offspring, Rodrigo y Gabriela, Chase & Status, Paul Kalkbrenner, Iration Steppas, Massilia Sound System, Molecule, OBF, Timmy Trumpet, JAJA, YUNGBLUD, Maureen, MISSIO, SDM, Datcha Mandala, Trym, O.B.F Sound System, Apashe, Koyla, Julien Granel, L'Imperatrice, Manudigital, Les Deuxluxes, Josman, Les vulves assassines, DJ Lou Strummer, KO KO MO, Lala &ce, Franck & Damien, Punky Tunes, Grandmas House, joysad, Isabella Lovestory, Angela and Sika Rlion

with Sum 41, The Offspring, Rodrigo y Gabriela, Calvin Harris, Chase & Status, Mass Hysteria, Shaka Ponk, Swedish House Mafia, Paul Kalkbrenner, Morad, Timmy Trumpet, Rivo, YUNGBLUD, Maureen, PLK, Doria, SDM, Trym, O.B.F Sound System, Apashe, Julien Granel, Creeds, Luidji, L'Imperatrice, Trackhead, Josman, TRINIX, Charlotte Cardin, KO KO MO, Lala &ce and Brutalismus 3000

with Chris Brown, Muni Long and Maeta

with Booba, Hamza, Fally Ipupa, Leto, Peet, DJ Snake, PLK, SDM, Bekar, JOK'air, Major League Djz, Central Cee, TIF, 13 Block, D-Block Europe, Don Toliver, Koba LaD, YG Pablo, Ronisia, Yeat, B.B. Jacques, H JeuneCrack, Zola and RSKO

with Dj Blast, Davido, Musa Keys and Shallipopi

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• June 20, 2024 Setlist

Ayra Starr Setlist at Centre Bell, Montreal, QC, Canada

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• Jun 14 2024 UBS Arena Elmont, NY, USA Add time Add time
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Ayra Starr Shines Bright on Chris Brown’s 11:11 Tour

Credit: Ayra Starr/Instagram

Ayra Starr is on the first leg of her journey as a special guest on Chris Brown’s 11:11 tour and has been having fun!

The star is not only captivating fans with her previously released hits like “ Bloody Samaritan ,” but also giving exclusive first listens to new tracks from her sophomore album (The Year I Turned 21 ) with tracks like “ Goodbye ” and “ Last Heartbreak Song .” Ayra is offering a taste of the exciting project to come.

Beyond the stage, get an exclusive look behind the scenes of Ayra’s life on the road. This glimpse into her world captures the hustle and bustle of her tour life and intimate moments of reflection and joy.

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Living & Celebrating the African Dream! Catch all the Scoop on www.bellanaija.com Follow us Twitter : @bellanaija Facebook : @bellanaija Instagram : @bellanaijaonline

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Ayra Starr’s tight hug with Chris Brown in viral video raises eyebrows

Ayra starr is undoubtedly africa's shining star, illuminating the global music scene with her dazzling talent and charisma. her name perfectly captures her skyrocketing fame, which is as invigorating as a breath of fresh air and as explosive as a firecracker. the mavin sensation recently landed a coveted spot on chris brown's tour, where she electrified the stage with her presence, her sizzling performance leaving a lasting impression. the highlight of the night was a warm, fuzzy hug with the r&b heartthrob, which became the talk of the town, sending fans into a tizzy, with eyebrows shooting up and tongues wagging like crazy.

• Ayra Starr undoubtedly represented Africa with flair at Chris Brown’s highly anticipated world tour, captivating audiences with her electrifying performances.
• However, what truly set the internet abuzz was her intimate backstage moment with Chris Brown, the pair shared a warm, heartfelt hug that not only highlighted their mutual respect but also ignited a flurry of reactions online.
• Fans couldn’t stop talking about this endearing interaction, which added a layer of excitement to the already sensational tour.

Talented Nigerian singer, Oyinkansola Sarah Aderibigbe, known to her fans as Ayra Starr, has made an indelible mark on audiences during US singer Chris Brown’s electrifying 11:11 tour.

The Mavin star, whose performances have been nothing short of mesmerizing, released a captivating video documentary chronicling her experiences throughout the tour.

In the first episode of her series, Ayra shared heartfelt moments with everyone she encountered, providing fans with an intimate glimpse into her journey.

One of the standout highlights was her backstage encounter with Chris Brown, where she wished him luck before his performance.

In a playful exchange, the American music sensation confided in Ayra, teasingly claiming that he has stage fright. Ayra, with her characteristic charm and confidence, responded that she didn’t believe him, noting that his extensive experience on stage made the notion hard to accept.

This candid moment culminated in a very warm and tight hug between the two artists, a gesture that sparked a wildfire of reactions online.

SEE VIDEO BELOW 

Fans and followers can’t stop talking about the heartwarming moment, with discussions, memes, and comments flooding in from all corners of the internet.

SEE REACTIONS BELOW 

Ayra Starr’s setlist included hits like GOODBYE, LAST HEARTBREAK SONG, BLOODY SAMARITAN, COMMAS, and RUSH, which got the crowd moving and singing along. Her powerful vocals and infectious energy have won over fans, making her a standout opening act on the tour.

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The 11:11 tour, which kicked off in Detroit on June 5th, 2024  and will conclude in Los Angeles on August 6th, 2024, has been proof to Chris Brown’s enduring talent and dedication to his craft. However, Ayra Starr’s performance has added an extra layer of excitement and buzz to that show.

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Music Features

As african pop crests again, women are leading the second wave, new albums by ayra starr, tems and tyla mark a turning point for the continent's global voice.

Sheldon Pearce

Ayra Starr's second album, The Year I Turned 21 , is a global-minded symphony of influences, and part of a recent wave of young women charting their own course for African pop. Mikey Oshai/Courtesy of the artist hide caption

When the emergent Nigerian singer Ayra Starr visited the British digital radio station Kiss Fresh in March, she was asked to whom she wanted to give flowers for International Women’s Day. Starr named three fellow artists — Tems , Tyla and Tiwa Savage — known to fans of modern Afropop as its most consistent guest star, its fastest-rising newcomer and its trailblazing millennial forebear. Taken together, the list can be seen as indicative of not only a breakthrough moment for the music, but what it took to get here. “It makes me emotional, because when I started, I got criticized for dressing too sexy, or my lyrics were a bit too risqué,” Savage said a few months later on the same platform, reflecting on the sour, sexist reception she’d often seen during her own 2010s rise, when she faced backlash for videos like “ Wanted ” and saw some banned from TV for indecency. The enthusiastic reception Starr had received as a femme-forward “sabi girl,” then, felt promising, an omen of a less patriarchal and more uncompromising future coming into view for Africa’s rapidly expanding pop movement. Or, as Savage put it: “Seeing it now, seeing someone like Ayra, I’m like … yeah !”

Ayra Starr’s new album, The Year I Turned 21 (released May 30), is the latest landmark in an ongoing Afropop evolution. It is among the sleekest records the genre has ever produced, unbelievably self-assured yet acutely aware of the wider world. Along with Tyla and Tems, Ayra completes a triumvirate of young women currently seizing the Afropop stage for themselves, while making fewer concessions to Western presentation. Much early Afropop suffered from an identity crisis — a need to honor tradition, and at the same time an overwhelming appetite for success beyond local borders — that found it zealously integrating the dominant sounds of American music, sometimes at its own expense. Now, a few decades removed from the need to validate the sounds of home or to explain themselves, this trio has carved out space atop the global pop ranks on their own terms.

Afropop has made its greatest international strides, commercially and creatively, in the last decade. The founding of the Nigerian label Mo’Hits in 2003 began the evolutionary process in earnest, and within a few years the most prominent African stars were catching the attention of artists in the States: In 2011, the Mo’Hits rapper D’Banj signed with Kanye West’s G.O.O.D. Music, while the more R&B-forward duo P-Square signed with Akon’s Konvict label. Their calling card tended to be a chintzy synth-pop sound, heavily influenced by the T-Pains and Flo-Ridas of the American Top 40. But in the end, the industry maneuvering didn’t move the needle much for the music, which remained a curiosity. In their wake, a form known as Afrobeats came to prominence, its very intentional “s” far from the only thing separating it from the sounds of Fela Kuti. Led by Tiwa Savage, the prodigy turned global ambassador Wizkid and the Atlanta-born, Lagos-raised architect Davido , the music that became the bedrock of the style affixed African rhythms to the familiar sounds of hip-hop and R&B. The first generation to grow up under the easement of that influence — the synergist Rema , the siphon Fireboy DML and the Ghanaian-American futurist Amaarae — found freedom in its sprawl, becoming pickier about the wells from which they drew and, over time, moving closer to home musically.

The American breakthrough for Afropop coincided with the cultural crossover of other foreign-language pop from South America, Puerto Rico and South Korea, with each genre seeming to have its own big bang. For K-pop, it was Psy’s “ Gangnam Style ,” powered by the virality of nascent YouTube border-crossing. For Latin pop, the metastasizing success of “ Despacito ” and its Justin Bieber remix built on a latent reggaeton genealogy lingering beneath the surface. Somewhere between the seed-planting of the former and the overnight propagation of the latter is “ One Dance ,” Drake’s massive 2016 hit with Wizkid. The song funneled Afrobeats through UK funky and dancehall, and you could make no more honest case for an introduction of Afrobeats to the world — with its vibrant, all-encompassing sound and globalist vision, two things it had in common with Drake, who became one of its earliest and most consistent adopters. In the wake of “One Dance,” a trade route was established, others following Drake’s lead . The late ‘10s brought expanded influence for Davido and Wizkid, who honed their sounds down to the most useful components. Producers like the Nigerian British P2J and the British Ghanaian Jae5 started a cross-cultural exchange, crafting variations of prevalent Afrobeats styles for British rappers like Dave, J Hus, Skepta and Stormzy. Both also produced for the self-proclaimed Afro-fusionist Burna Boy , the first Afropop artist to really synthesize the diaspora into anything like a singularity.

More breakthroughs, less crossover: Afrobeats is here to stay, on its own terms

The genre’s eruption intersected with the rise of the streaming economy, and as broader tolerance for foreign pop rose alongside it, stars from within and without seized the moment. By 2019, Burna Boy had amassed enough juice to complain about his place on the bill at Coachella: “I am an AFRICAN GIANT and will not be reduced to whatever that tiny writing means,” he said on Instagram. The album he released that year of the same name set a new benchmark, earning a Grammy nomination for best world music album. (He would win the following year for Twice as Tall .) The same summer as African Giant , Beyoncé took her musical machine to Africa for her Lion King soundtrack project, The Gift , which spanned rap, Afrobeats and gqom, a house subgenre originating in South Africa. Wizkid and Tiwa Savage were in attendance, leading a cast that largely featured Nigerian and South African performers. P2J, among the architects of Beyoncé’s African transformation, pointed in particular to the track “ Brown Skin Girl ” as a turning point for an inevitable Afropop takeover, calling it “a big moment for Africa” and saying the album would “ change the face of music .” Still, it has taken some time for the actual brown skin girls to be the faces of that charge.

For many years, Tiwa Savage was holding it down in an Afropop boys’ club. She was far from the only woman excelling — artists like Simi and Teni did much for the cause — but there were times where she seemed to be the only one gaining traction — hence her “Queen of Afrobeats” title, a claim that often felt uncontested. She has always been aware of her position and the pressures of it, operating between two different masculine cultures, but there has also always been an eager audience for her music. “Afrobeats is very male-dominated, so most of my fans are female,” she told Vogue UK in 2018. “Women identify with my music, with my lyrics, and I really use that to my advantage.” It is a demographic shift that has helped change the rules of engagement for the women coming up after her: What once felt like a fight for attention has now shifted toward one for individuality. “Obviously Afrobeats is experiencing a huge wave that has helped me and a lot of artists,” Amaarae told Vulture last year, after the release of her sensual and adventurous sophomore album, Fountain Baby . “But I want the freedom of the vision that exists outside of this pocket.” With her own style-bending songs, Amaarae has contributed greatly to these efforts; though she has not become a star befitting her output, she’s helped make a way for others.

At the forefront of the current wave is Tems, who emerged during the Afropop boom of the early pandemic. She provided the signature sauce of the atmospheric Wizkid hit “ Essence ,” which proved to be a major genre milestone and personal springboard. Then came collaborations with Rihanna (contributing to the Black Panther: Wakanda Forever soundtrack), Drake (co-featuring on Future’s Hot 100 chart-topper “ Wait For U ” and the Certified Lover Boy cut “ Fountains ”) and Beyoncé (in a guest spot on the club-conquering album Renaissance ), earning her an Oscar nom, a Golden Globe nom, a Grammy win and the highest ever chart debut for an African artist. Last year, her single “ Free Mind ” set a record for most weeks at No. 1 on the R&B/Hip-Hop airplay chart by a woman. In that song’s peace-seeking psalm, her appeal comes very clearly into focus: Tems makes a feel-it-in-your-chest soul music rooted more in African and English traditions than the American ones so often pulled from by her predecessors. She is so clearly hewing in one direction it is difficult to misclassify her as anything else.

The Nigerian singer has been quite diligent about identifying her music as just “R&B,” and with good reason: Her simmering songs are not in conversation with the diaspora in the same way. They are self-contained — not just laid back, as much Afropop is, but interior and slightly removed. (“Everyone I asked for advice was like, ‘The only way you can do this is Afrobeats. It’s not that your music is bad, it’s just that it doesn’t fit in Nigeria. Nigerians don’t like this,’ ” she said in an Interview magazine conversation with Kendrick Lamar.) The true differentiator in her sound is a tonal one: “All the other girls had these sweet, high voices,” she told The Cut earlier this year. “And my voice had bass .” There are few greater illustrations of this than “ Love Me JeJe ,” the single from her new album, Born in the Wild (out June 7), which reinterprets the 1997 Seyi Sodimu song of the same name, in touch with the classic but wholly in service to the younger singer’s instrument.

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Tyla is the new face of African pop. She's aiming to take over the whole world

For quite a while, media overwhelmingly siloed the pop of the continent to the music of West Africa, and designated it all as Afrobeats. (“It’s not all being properly categorized,” Amaarae has noted . “We’re all being lumped into this one umbrella.”) Even now, as I write this, the broader Afropop label feels like its own too-slippery catch-all. The harsh truth is that those distinctions don’t matter to the average American, who has little conception of Africa as a continent, much less its cultural nuances at the nation and city levels. But there is at least something to be said for the latter term feeling more inclusive than the former, if not more accurate. With her ascent over the last few months, Tyla has pushed that door open wider. “They never had a pretty girl from Joburg / See me now and that’s what they prefer,” she sings on “ Jump ,” from her self-titled solo debut (March 22). The South African singer had already been honing her craft in plain sight when “ Water ” spawned a viral dance challenge on TikTok and catapulted her to stardom. Winning the inaugural Grammy for best African music performance, the song set the stage for a quantum leap.

In embracing the log-drum-powered sound of amapiano, a house music hybrid born in South Africa, Tyla has become its greatest envoy. You may have heard its distinctive rhythms pulsing through West African pop, thanks in large part to Asake , a breakout star of the 2020s who adopted its wobble into his street-rap variant. The shuffling music Tyla makes feels more homegrown — a centrist turn from the creations of amapiano DJs in South Africa like Uncle Waffles and Felo Le Tee. Her songs are sweat-soaked but subtle, often sensation-driven, her vocals possessed by the breathlessness of intimacy and motion. It may sound simple, but she performs a certain ethereal perfection, exuding the ease of a sunbather, and the effect on her songs is as apparent as the difference between a real tan and a cosmetic one. She moves through reveries like “ Safer ” and “ ART ” with sylph-like grace, and the songs often seem to have the illusory, mystifying charms of a perfume commercial.

Ayra Starr's trajectory runs nearly parallel to Tyla’s. A teenage prospect who started uploading covers online before being spotted by Afropop royal Don Jazzy, the Mo’Hits co-founder, and signing to his second-act label Mavin Records, Starr’s breakout song, “ Rush ,” also went viral on TikTok, and was among the songs competing with “Water” in its Grammy category. She is one of a few artists working who has actively embraced the Afrobeats title, and her songs do feel more distinctly in the lineage of an artist like Wizkid, intuitively embracing the growth potential of global expansion. “The generations of African artists who worked to this extent for people like me to be able to be global with this sound worked for this,” she told Elle , when asked about internal criticism of the sound’s international dilution. “The genre’s not being diluted, it’s becoming mainstream.”

There may not be a more compellingly all-inclusive sound than hers: As if attempting to honor the long Afrobeats history of wholesale integration that has made it so difficult to define, The Year I Turned 21 bears out all of that potential. If there has ever been “world music,” this is it. There are African forms like highlife and amapiano mixed in with Latin pop and dancehall, the self-described Afrobeats-R&B hybrid “ Last Heartbreak Song ” and a song literally called “ Rhythm & Blues .” Starr finds points of triangulation between Brazilian pop star Anitta and R&B maven Coco Jones and Jamaican producer Rvssian and Latin trap artist Rauw Alejandro. Her mellow, sultry voice is limber enough to flex in nearly any direction.

What is perhaps most glorious about The Year I Turned 21 is how seamless it all feels. Starr has said she thought of the album as a TV show, and though that pseudo-concept isn’t actively pushed in the listening experience, it has an unbreakable continuity. There is no disconnect between the rap swagger of “ Bad Vibes ” and the jazzy sway of “ Orun .” She is as comfortable repurposing Wande Coal’s “You Bad” (on “ Jazzy’s Song ”) as she is nodding to Shakira’s “Hips Don’t Lie” (on “ Control ”). Everything fits. Where K-pop maximalism sometimes leads to acts wearing their influences on their sleeves in mismatched layers, like a child trying to dress himself for the first time, this album makes those decisions naturally, without a second thought. The music feels in pursuit of an enlightened state, unwilling to strain itself. On “ Goodbye ,” across a sashaying lounge rhythm, Starr sounds emancipated, in full strut, with Asake in tow. “ Lagos Love Story ” embodies its beachside romance, turning Lagos into a Shangri-La. Through her, you can hear an Afrobeats ideal, and how such a thing interacts with the vision of the modern Afropop star.

Ayra Starr, Tyla and Tems each feel like surefire hits in a time when fame is difficult to quantify, and all three artists releasing pivotal career albums in the span of three months is a good-sized crack along African music’s glass ceiling. For many years, women in hip-hop circles faced the same obstacles, and the parallels are unsurprising given the masculine ideology in both cultures. But for the moment, we are seeing just what kind of sprawl a diversity of perspectives can bring to a genre. How you categorize the music matters far less than who is allowed to make it pop.

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Spotify predicts 30 anthems for the 2024 summer: Includes song by Feid, Yandel, and Rauw Alejandro

M iami - as summer 2024 kicks off, spotify's annual songs of summer predictions list is generating buzz with a diverse lineup of tracks poised to become the season's anthems . the 30 song list includes major stars like billie eilish, kendrick lamar, and sabrina carpenter, whose careers took off thanks to taylor swift's "eras tour," where she was the opening act..

Ms. Swift is on the list herself, as well as four Latin music artists. The Latin tracks set to make a significant impact this summer, according to Spotify, are: "Brickell" by Feid & Yandel and "Santa" by Rvssian, Rauw Alejandro & Ayra Starr.

Latin urban songs set to become summer anthems

Colombian artist Feid, in collaboration with Yandel, has created a summer hit with "Brickell." This track is not just capturing airwaves but also energizing Feid's ongoing Ferxxocalipsis Tour 2024 .

Feid's tour, which kicked off on April 24 in Sacramento, CA, includes stops across major U.S. cities like New York's Madison Square Garden on June 16, Washington, D.C.'s Capital One Arena on June 20, and culminates at Miami's Hard Rock Stadium on July 6.

Rvssian, Rauw Alejandro & Ayra Starr's "Santa"

Another standout on Spotify's summer list is "Santa" by Rvssian, Rauw Alejandro, and Ayra Starr. The Puerto Rican star, known for his electrifying stage presence, continues to tour extensively. His recent performances have been characterized by energetic shows that blend reggaeton with innovative visual effects, making each concert a memorable experience for fans.

Although specific dates for Rauw Alejandro 's summer tour are yet to be detailed, his collaboration in "Santa" is already being celebrated as a potential song of the summer.

Complete Summer Playlist

The list of contenders for Spotify's song of the summer is impressively diverse. Tracks span various genres, from "Not Like Us" by Kendrick Lamar to "Good Luck, Babe!" by Chappell Roan, and "Jump" by Tyla, Gunna & Skillibeng . This wide range ensures that listeners will find a perfect soundtrack for every summer moment, whether it's a relaxed day by the pool or a lively beach party.

For those eager to dive into the full playlist, Spotify' s Songs of Summer 2024 promises a rich mix of genres and artists. From Billie Eilish's "Birds of a Feather" to Taylor Swift's "I Can Do It With a Broken Heart," this curated list highlights the top 30 tracks that could dominate our playlists. To explore the entire selection, you can find the official playlist on Spotify's platform.

SPOTIFY'S 2024 GLOBAL SONGS OF SUMMER PREDICTIONS

Listed alphabetically by artist first name

• " BIRDS OF A FEATHER " by Billie Eilish
• " BAND4BAND " by Central Cee & Lil Baby
• " Good Luck, Babe! " by Chappell Roan
• " Sexy to Someone " by Clairo
• " Stumblin' In " by CYRIL
• " Austin (Boots Stop Workin') " by Dasha
• " I Don't Wanna Wait " by David Guetta & One Republic
• " She's Gone, Dance On " by Disclosure
• " Brickell " by Feid & Yandel
• " Gata Only " by FloyyMenor & Cris Mj
• " Yeah Glo! " by GloRilla
• " Single Again " by Josh Ross
• " Miles On It " by Marshmello & Kane Brown
• " Not Like Us " by Kendrick Lamar
• " Whatever " by Kygo & Ava Max
• " Ain't No Love In Oklahoma " by Luke Combs
• " Belong Together " by Mark Ambor
• " Stargazing " by Myles Smith
• " I Had Some Help " by Post Malone & Morgan Wallen
• " Cinderella " by Remi Wolf
• " Santa " by Rvssian , Rauw Alejandro & Ayra Starr
• " Espresso " by Sabrina Carpenter
• " A Bar Song (Tipsy) " by Shaboozey
• " I Can Do It With a Broken Heart " by Taylor Swift
• " Love Me JeJe " by Tems
• " Nasty " by Tinashe
• " Tshwala Bam (feat. S.N.E) - Remix " by TitoM , Yuppe & Burna Boy
• " MILLION DOLLAR BABY " by Tommy Richman
• " Overcompensate " by Twenty One Pilots
• " Jump " by Tyla , Gunna & Skillibeng

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Asake Announces Lungu Boy World Tour: Here Are the Dates

The trek will support the artist's upcoming third studio album, which is due later this summer.

By Heran Mamo

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Asake announced on Monday (June 10) that he’ll be embarking on the Lungu Boy World Tour across North America and Europe.

The 14-date trek begins on June 26 at Afro Nation Portugal and features more festival performances at Wireless Festival in London and Afro Nation Detroit, as well as major venue stops at Atlanta’s State Farm Arena and NYC’s Madison Square Garden before wrapping on Oct. 6 at Promiseland Festival in Gold Coast.

The Lungu Boy World Tour will support Asake’s upcoming third studio album, which is due later this summer. He was recently featured on “Goodbye (Warm Up)” from Ayra Starr ‘s sophomore album, The Year I Turned 21, and “Get it Right” from Tems ‘ debut album, Born in the Wild .

Afrobeats Fresh Picks: Asake, Black Sherif, Highlyy, Fave, Yung D3mz, PsychoYP & More

Trending on billboard.

Additional presales will run throughout the week ahead of the general onsale, which starts on Friday, June 14, at 10 a.m. local time.  

See the Lungu Boy World Tour dates below.

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1 hr 22 min

Summer 2024 Party KickOff - Afrobeats, Francophone, Dancehall, Hip Hop, Amapiano, Jersey Moh D 's Mixes

name - artist 1. Do It (DJcity Intro - Dirty) - ¥$, Kanye West & Ty Dolla $ign 2. Soak City (Do It) - MarkCutz & DoesItAll Hype Intro (Dirty) - 310babii, Blueface & Tyga ft. Mustard, OhGeesy & BlueBucksClan 3. KNOCKA (DJcity Intro - Dirty) - YG 4. Not Like Us (DJcity Hook First - Dirty) - Kendrick Lamar 5. Killing Me Softly (LOVE SIX edit) -  6. Gogo - RajahWild 7. What's Up (Big Buddy) - Jada Kingdom 8. Jump - Tyla ,  Gunna  &  Skillibeng 9. Drift - Teejay, DJ MAC 10. Favourite Girl - Darkoo  &  Dess Dior 11. Mad Out (Big Bunx Riddim) (DJcity Intro - Dirty) - Valiant 12. Talibans (Dirty) - Byron Messia 13. WOTOWOTO SEASONING (Dirty) - ODUMODUBLVCK ft. Black Sherif 14. Bad Vibes - Da Phonk Remix - Ayra Starr ft. Seyi Vibez 15. Wahala (Dirty) - CKay & Olamide 16. Abidjan (feat. Dorty) - Detty K 17. On Form (DJcity Intro - Dirty) - Burna Boy 18. SKEU SKEU - Jogga ft. wilsko & 7ia 19. Pololo (Dirty) - MHD Ft. Tiakola 20. Commas - Ayra Starr 21. Love Me JeJe - Tems 22. Rhythm & Blues - Ayra Starr 23. Happiness - Sarz ft. Asake & Gunna 24. Stubborn - Victony ft. Asake 25. Peru - NIE, IASON & Gilla Remix (Dirty) - Fireboy DML 26. Reason (DJcity Intro) - Omah Lay 27. Cast (Dirty) - Shallipopi ft. ODUMODUBLVCK 28. BLOOD ON THE DANCE FLOOR (Dirty) - ODUMODUBLVCK ft. Bloody Civilian & Wale 29. Do I Remix (Dirty) - Phyno ft. Burna Boy 30. A Collision Of Two Worlds - The Real Prechly ,  Dj Lux  &  Dj Guti BPM 31. Tshwala Bam Remix (Dirty) - Titom, Yuppe & Burna Boy ft. S.N.E 32. Wadibusa (feat. OHP Sage, Pcee & Djy Biza) - Uncle Waffles  &  Royal MusiQ 33. Funk 99 - Shakes & Les  &  LeeMcKrazy 34. Komasava (Comment Ça Va) - Diamond Platnumz X Khalil Harrison X Chley 35. Y'a Dieu dedans - Paulo Chakal, Didi B, Ethyler Paul Éric Michel, Bassa Zerehoue Diyilem 36. Terminator - King Promise 37. Paris - King Promise 38. NOT LIKE US AMAPIANO (DJ DYNAMIITE REMAKE) - KENDRICK LAMAR 39. act ii: date @ 8 - DJ CAUJOON & DJ YASS Amapiano Remix - 4Batz & Drake 40. Made For Me - Yumbs Amapiano Remix - Muni Long 41. Love (Egnever Amapiano Edit) - Keyshia Cole 42. First Class - DJ IMAI Remix (Dirty) - Jack Harlow 43. Meridian (DJcity Intro - Dirty) - Dave & Tiakola 44. I Believe - Asake 45. Egwu - Mohbad 46. After Hours (DJcity Intro) - Kehlani 47. Tek Tek - DYSTINCT, MHD 48. Petit génie - Jungeli, Imen Es, Alonzo, Abou Debeing, Lossa 49. Boucan (feat. Franglish) - KeBlack 50. Excuse Me x Tour D'Ivoire - Detty k 51. Bent Remix (DJcity Intro - Dirty) - 41, Kyle Rich, Jenn Carter, TaTa & Sexyy Red 52. Everybody (Dirty) - Nicki Minaj ft. Lil Uzi Vert 53. SHAKE SUMN REMIX (DJcity Intro - Dirty) - DaBaby & Sexyy Red 54. Whatever I Want (Dirty) - Meek Mill ft. Fivio Foreign 55. Twe Twe - Kizz Daniel  &  Davido 56. Coup du marteau (feat. Team Paiya, Ste Milano, Renard Barakissa, Tazeboy, PSK) - Tam Sir, Tam Sir Junior, Tam Sir Junior, Tam Sir, CISUM 57. Fimbu chicote ft DIDI B , STE MILANO , 3XDAVS ( audio officiel ) - TEAM PAIYA 58. Rich Baby Daddy (DJcity Intro - Dirty) - Drake ft. Sexyy Red & SZA 59. Fisherrr Remix (Dirty) - Cash Cobain, Ice Spice & Bay Swag 60. Attitude (feat. Charlie Wilson & Cash Cobain) - Don Toliver 61. one of wun (Dirty) - Gunna 62. Wanna Be (Dirty) - GloRilla & Megan Thee Stallion 63. Get It Sexyy (Dirty) - Sexyy Red 64. Million Dollar Baby - Tommy Richman 65. Mr Pot Scraper - BossMan DLow 66. Get In With Me - BossMan DLow 67. Bow Bow Bow (F My Baby Dad) (Dirty) - Sexyy Red 68. All Dere (feat. Moneybagg Yo) - GloRilla 69. Bahm Bahm - Nicki Minaj 70. One Margarita (Margarita Song) - Steve Terrell 71. Big Poppa (Be Charm'd Edit) - The Notorious B.I.G

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The Unique Burial of a Child of Early Scythian Time at the Cemetery of Saryg-Bulun (Tuva)

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Pages:  379-406

In 1988, the Tuvan Archaeological Expedition (led by M. E. Kilunovskaya and V. A. Semenov) discovered a unique burial of the early Iron Age at Saryg-Bulun in Central Tuva. There are two burial mounds of the Aldy-Bel culture dated by 7th century BC. Within the barrows, which adjoined one another, forming a figure-of-eight, there were discovered 7 burials, from which a representative collection of artifacts was recovered. Burial 5 was the most unique, it was found in a coffin made of a larch trunk, with a tightly closed lid. Due to the preservative properties of larch and lack of air access, the coffin contained a well-preserved mummy of a child with an accompanying set of grave goods. The interred individual retained the skin on his face and had a leather headdress painted with red pigment and a coat, sewn from jerboa fur. The coat was belted with a leather belt with bronze ornaments and buckles. Besides that, a leather quiver with arrows with the shafts decorated with painted ornaments, fully preserved battle pick and a bow were buried in the coffin. Unexpectedly, the full-genomic analysis, showed that the individual was female. This fact opens a new aspect in the study of the social history of the Scythian society and perhaps brings us back to the myth of the Amazons, discussed by Herodotus. Of course, this discovery is unique in its preservation for the Scythian culture of Tuva and requires careful study and conservation.

Keywords: Tuva, Early Iron Age, early Scythian period, Aldy-Bel culture, barrow, burial in the coffin, mummy, full genome sequencing, aDNA

Information about authors: Marina Kilunovskaya (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Vladimir Semenov (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Varvara Busova  (Moscow, Russian Federation).  (Saint Petersburg, Russian Federation). Institute for the History of Material Culture of the Russian Academy of Sciences.  Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail:  [email protected] Kharis Mustafin  (Moscow, Russian Federation). Candidate of Technical Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Irina Alborova  (Moscow, Russian Federation). Candidate of Biological Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Alina Matzvai  (Moscow, Russian Federation). Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected]

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Out of the Centre

Savvino-storozhevsky monastery and museum.

Zvenigorod's most famous sight is the Savvino-Storozhevsky Monastery, which was founded in 1398 by the monk Savva from the Troitse-Sergieva Lavra, at the invitation and with the support of Prince Yury Dmitrievich of Zvenigorod. Savva was later canonised as St Sabbas (Savva) of Storozhev. The monastery late flourished under the reign of Tsar Alexis, who chose the monastery as his family church and often went on pilgrimage there and made lots of donations to it. Most of the monastery’s buildings date from this time. The monastery is heavily fortified with thick walls and six towers, the most impressive of which is the Krasny Tower which also serves as the eastern entrance. The monastery was closed in 1918 and only reopened in 1995. In 1998 Patriarch Alexius II took part in a service to return the relics of St Sabbas to the monastery. Today the monastery has the status of a stauropegic monastery, which is second in status to a lavra. In addition to being a working monastery, it also holds the Zvenigorod Historical, Architectural and Art Museum.

Belfry and Neighbouring Churches

Located near the main entrance is the monastery's belfry which is perhaps the calling card of the monastery due to its uniqueness. It was built in the 1650s and the St Sergius of Radonezh’s Church was opened on the middle tier in the mid-17th century, although it was originally dedicated to the Trinity. The belfry's 35-tonne Great Bladgovestny Bell fell in 1941 and was only restored and returned in 2003. Attached to the belfry is a large refectory and the Transfiguration Church, both of which were built on the orders of Tsar Alexis in the 1650s.  

To the left of the belfry is another, smaller, refectory which is attached to the Trinity Gate-Church, which was also constructed in the 1650s on the orders of Tsar Alexis who made it his own family church. The church is elaborately decorated with colourful trims and underneath the archway is a beautiful 19th century fresco.

Nativity of Virgin Mary Cathedral

The Nativity of Virgin Mary Cathedral is the oldest building in the monastery and among the oldest buildings in the Moscow Region. It was built between 1404 and 1405 during the lifetime of St Sabbas and using the funds of Prince Yury of Zvenigorod. The white-stone cathedral is a standard four-pillar design with a single golden dome. After the death of St Sabbas he was interred in the cathedral and a new altar dedicated to him was added.

Under the reign of Tsar Alexis the cathedral was decorated with frescoes by Stepan Ryazanets, some of which remain today. Tsar Alexis also presented the cathedral with a five-tier iconostasis, the top row of icons have been preserved.

Tsaritsa's Chambers

The Nativity of Virgin Mary Cathedral is located between the Tsaritsa's Chambers of the left and the Palace of Tsar Alexis on the right. The Tsaritsa's Chambers were built in the mid-17th century for the wife of Tsar Alexey - Tsaritsa Maria Ilinichna Miloskavskaya. The design of the building is influenced by the ancient Russian architectural style. Is prettier than the Tsar's chambers opposite, being red in colour with elaborately decorated window frames and entrance.

At present the Tsaritsa's Chambers houses the Zvenigorod Historical, Architectural and Art Museum. Among its displays is an accurate recreation of the interior of a noble lady's chambers including furniture, decorations and a decorated tiled oven, and an exhibition on the history of Zvenigorod and the monastery.

Palace of Tsar Alexis

The Palace of Tsar Alexis was built in the 1650s and is now one of the best surviving examples of non-religious architecture of that era. It was built especially for Tsar Alexis who often visited the monastery on religious pilgrimages. Its most striking feature is its pretty row of nine chimney spouts which resemble towers.

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