Africa can only be built and structured by Africans. It can never be done by another coterie of people, race, or creed across the globe.
Africans should not get lost in the concept of cultural imperialism that has since influenced various aspects of our entertainment industry. The accent, the lifestyle, the sound, and approach to music, Afrobeats is steadily in its decline, though the musicians are touring the globe, the culture in itself has reached its peak, and has nowhere else to go anymore.
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There are certain ideologies and beliefs that an African should represent, however, Afrobeats musicians have since decided to distance themselves from those who supported their craft, visions, and gyrated to their anthems over the years. Modern Afrobeats singers no longer appeal to their African audience, instead, they are more interested in seeking the approval and validation of those on the other side of the globe.
When the town crier no longer sees value in the striking of the gong or believes in the essence of the message, he tosses the equipment and picks up a new job description. Probably becoming a jester in the kingdom or errand boy in the king’s palace, it doesn’t matter; the town crier has a place in the king’s palace, therefore, he no longer sees himself as a member of the common people.
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This is the case with Afrobeats musicians, they no longer understand why they should nourish the desire of their Nigerian fans and African audience. They want to coerce themselves into the European and American radio.
A tough call if you ask me.
So, what does the African man represent?
The African man (generic term for male and female) isn’t just designed to hustle and bustle and wish upon the stars to align for them through God. The African person isn’t created to endure the turmoil of life, seeking meaning via onerous jobs, duties that crack their back and annihilate their mental and emotional wellbeing. Further, African person is created to lead and propel into prominence, create a legacy that would define generations and inspire a burgeoning coterie of people from different creeds, classes, races, and religions.
Being an African isn’t a limitation, it’s a responsibility. Being black isn’t a curse, it’s a propeller to accentuate one’s essence through constant carving and stretching; black isn’t strength, black is power, black is beyond the shallow comprehension of modesty. The African man is designed to be braggadocious, to lead and live, to explore and exploit on God’s beautiful earth.
Legendary Africans such as Fela Anikulapo-Kuti, Desmond Tutu, Nelson Mandela, Majek Fashek, Chinua Achebe, and Prof. Wole Soyinka spoke about Africa from their home continent and weren’t apologetic about the tone of their message or how those from outside the continent perceived them. Being an African is a responsibility, Afrobeats musicians do not see it as such- the funds are their primary objective, and it is safe to say that is fine; however, their legacy would be ephemeral and not necessarily serve a long-term vision.
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The Short-sightedness of Afrobeats Musicians
In the late 2010s- early 2020s, Afrobeats pulsated into mainstream prominence. Musicians such as Burna Boy, Wizkid, and Mr Eazi were working with international musicians such as Beyonce and Drake. Davido collaborated with Chris Brown, and Yemi Alade was on a French tour. Life as a Nigerian was exciting, though vicariously. Our export was simply one of the best, while flagbearers such as Wizkid, Davido, and Burna Boy were the most talked about, it was the groundwork of Don Jazzy and D’Banj’s Mo’Hits records, P Square, and 2 Face’s artistry that that generation benefited. Nigeria simply had some of the most adorable musicians; they knew their craft, and it took them across the globe.
The sound had African gong infused into it, the lyrics involved the use of Nigerian lingua franca, street terminologies, and cultural aesthetics. They made music for their fellow Nigerian natives and other African counterparts first before putting those from outside the continent into consideration.
Following Burna Boy’s Grammy win in 2021, it was the actual peak and steady decline of Afrobeats. First, the controversial singer-songwriter turned his back on his people by making rash comments about them on social media and going as far as stomping on them during his live performances. Further, he has continued to distance himself entirely from the genre and culture that helped him to achieve mainstream prominence.
Another artiste who has distanced himself from Afrobeats and spills balderdash about Afrobeats is Big Wiz, who is otherwise known as Machala. He mentioned that he no longer identifies with the genre that turned him into a superstar. Even Afrobeats musicians do not believe in their creed, genre, or framework anymore; they see it as a sham and disdain it like it is a shame to be tagged an ‘Afrobeats musician’.
Where Should Afrobeats Go from Here?
In life, everything that has a beginning has a conclusion. Whatever it is, there must be an end regardless of how good the journey has been, there must be a grand finale. Afrobeats as a music genre wouldn’t die, instead, it would only decline into a state of normalcy.
As of the time of this publication, there hasn’t been any musician who has been able to break out in 2025. There are no new sensational musicians who have the streets on lock, it is just the same old regurgitation of exaggerated figures from mainstream musicians.
The entertainment industry needs to connect with the grassroots once again, they need to appeal to their audience across the various parts of Nigeria and Africa.
