South Korea’s Silly, the Afrobeats devotee many Nigerians know by her handle Afrokitty, has released a four-track EP titled Afrokitty and followed it up by flying to Lagos to film the video for “Trampoline,” a buoyant cut from the project that arrived in early August.
The 28-year-old vocalist from Dong-gu first won attention by posting silky covers of Nigerian hits and, crucially, by singing convincingly in Nigerian Pidgin. That knack turned her from a curiosity into a bona fide scene friend: Nigerian listeners praised the phrasing; international fans discovered the cadence and color of Afrobeats through her clips.
Silly
Silly
Silly
Her Lagos link-up is the culmination of a journey. Silly touched down in Nigeria for the first time in January 2025, meeting dancers and creatives, tasting the city’s rhythms beyond the timeline, and doubling down on the sound that hooked her online. In conversation with Lagos tastemakers, she’s shouted out Asake as a favorite, and her cover history runs through Rema, Fireboy DML, CKay, Wizkid, Olamide, and more — breadcrumbs that led to original music of her own.
On Afrokitty, Silly leans into Afrobeats’ swing: bright guitar figures, elastic percussion, and toplines built for sing-back hooks. It’s sleek, light on its feet, and arranged to travel — from Seoul studios to West African playlists without losing its sparkle.
Silly
Silly
Silly
Silly
“Trampoline” lives up to its name — springy, playful, and flirty by design. The Lagos-shot video centers dance first: formation routines, expressive freestyles, and close-quarters energy that mirrors Afrobeats’ communal pull. The creative choice to shoot on location grounds the song in the culture that inspired it, framing Silly not as a tourist but as a respectful collaborator learning in real time. The cut underscores what her fanbase already sensed — she’s most compelling when she lets Nigerian choreography, styling, and street-level charisma share the spotlight with her voice.
Silly’s rise is a case study in how Afrobeats now moves: across feeds, across borders, and back into the cities that built it. Her Pidgin delivery has become a bridge; Nigerian fans see their sound honoured, while Korean listeners pick up the language, the moves, and the mood. That two-way exchange — from Lagos to Seoul and back again — is exactly how the genre keeps expanding.
With Afrokitty out and “Trampoline” now visualized in Lagos, Silly has graduated from gifted cover artist to credible crossover prospect. Next up, she’s teased more collaborations with Nigerian artists and dancers. However those sessions land, the blueprint is set: learn the culture, show your work, and let the music do the introductions.
