In this paper, I explore how the Beninese star Angelique Kidjo has developed philosophies and aesthetics that are both Afrocentric and eco-feminist over the course of her long career. Focusing in particular on two albums, Ayé (“Life,” 1994) and Mother Nature (2021), I draw on interviews with Kidjo and fieldwork in Benin to unpack her deepening ecomusicological vision. Notably, Kidjo wrote the material for Ayé when she was pregnant with her daughter Naïma, and the album reflects the ways that becoming a mother crystallized her identity as an artist-activist. She expresses this new positionality through the imagery of vodun Dan, the serpent who holds up the earth in the cosmology of southern Benin. I also discuss the ways that the album creates an Afrofuturistic sound world using innovative studio technologies. Kidjo’s album Mother Nature, written during the COVID-19 pandemic, finds her contemplating again the intersections of her own feminist position with the deepening environmental crisis, now through the sounds of contemporary Afrobeats music. I suggest that Kidjo is doing the work of an ìyálóde, a figure in Yoruba culture known as a “public mother,” a spiritually powerful, respected political agent who manages conflict, represents women in political affairs, and oversees the market. I place Kidjo’s work in conversation with African eco-feminism, including the Nigerian scholar Catherine Acholonu’s (1995) concept of “motherism,” which she calls an “Afrocentric alternative to feminism.” I seek to bring this discussion of gender and motherhood to bear on ecomusicological questions about nature, culture, and sound.