Afrobeats is not a side lane anymore. It is one of the sounds shaping playlists, festival bills, and late-night speakers from Lagos to London to Toronto. That is the lane David Kamara steps into with “Like Yeah,” a short, bright Afro-pop / Afro-fusion cut that feels built for movement first and conversation second.
Kamara is a Toronto artist with Sierra Leone roots, and that mix sits right on the surface of how he presents himself. The bio he sent is the same story you will find attached to his catalog: African background, deep Toronto connections, and a habit of jumping between Afrobeats, hip-hop, indie, world, pop, and whatever else the track needs. He talks about putting positive, inspirational energy into the world. “Like Yeah” is the club version of that idea. It does not lecture. It just keeps the bounce going.
The official video was shot in Los Angeles, which already tells you something about the record’s ambition. This is not framed as a local demo. It is a compact single with a hook that keeps circling back to that title phrase, the kind of chant you can hear from the other side of a party before you even catch the rest of the lyric. Production-wise, it lives in the current Afrobeats / Afro-pop space: rhythmic, vocal-forward, and built around groove rather than a long narrative arc. If you only know him from earlier singles like “For You,” “Type For Me,” or “Replay,” this one leans more openly into the African-pop pulse while still sounding like a Toronto artist who grew up around more than one scene.
That cross-border thing is not a gimmick for him. He has recorded and worked across West Africa, including time in Ghana around the Made In Ghana project, and he has talked in interviews about blending sounds from the places he visits instead of locking himself into one box. Sierra Leone press has covered him as an Afro-fusion artist who also pulls in soul, pop, and R&B. The submitted genres for this track keep it tighter: Afrobeats, Afro-pop, Afro-fusion. That is the honest frame. You hear the diaspora conversation happening in the beat, not in a press-release paragraph.
The timing helps. Afrobeats and Afro-pop have spent the last few years moving from “export genre” to everyday global pop language. Streams keep climbing, festival lineups keep stacking African and diaspora names, and listeners who used to treat the sound as a seasonal playlist now expect it year-round. Artists like Kamara sit in a useful spot in that wave. He is not pretending to be a Lagos street-pop act, and he is not sanding the African influence off to sound like generic dance-pop. Toronto plus Sierra Leone is the actual story, and “Like Yeah” uses that without over-explaining it.
If you like records that stay short, hooky, and body-first, this is an easy add. Put it on when the room needs a lift. Then go back through the rest of the catalog if the voice sticks, because he has been releasing consistently for years rather than appearing out of nowhere with one mood-board single.
What do you think of this one? Does “Like Yeah” hit as Afrobeats, Afro-pop, or something in between? Drop it in the comments.
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