Nigerian Artistes and The War Against “Afrobeats” – a case of displeasure, relegation and lack of understanding.
“Music is a spiritual thing, you don’t play with music. If you play with music you will die young. You see, because when the higher forces give you the gift of music…musicians hip, it must be well used for the gift of humanity,- these were the words of the legend and pioneer of Afrobeat, Fela Anikulapokuti.
These words imply the sacredness and spirituality of music as a whole, narrowing it down to indigenous sound, “Afrobeats” which has been the umbrella for every successful Nigerian artiste and West African at large.
Nigerian music serves as a reflection of our society, capturing its essence and values. While it may seem to primarily convey upbeat emotions, it goes into deeper themes and issues. It offers a window into the minds of both creators and listeners, highlighting not only joy but also complexities and challenges within Nigerian culture.
The struggle for global recognition through this music pays off with the consistencies of both creators and listeners who find it patriotic and entertaining.
Nigerian music carries depth and meaning. As a vibrant nation, we express ourselves through rhythm and find emotional upliftment in joyful melodies. This is why drums remain a central element in our pop music, symbolizing our love for celebration and happiness.
However, the umbrella, “Afrobeats” whose guide has been the shelter and momentum for growth for which these artsites find their footing is being chastised by the very people it covers.
Why are Nigerian artistes at war with “Afrobeats?”
To understand the root cause, let’s take a stroll back to the inception of the tag “Afrobeats to the World” and its objective.
By 2010, Afrobeats had solidified its position as a powerful musical genre, characterized by its vibrant fusion of Afro-pop, R&B, rap, grime, and other styles, all thanks to the collaborative endeavors of Nigerian, Ghanaian, and British-African artistes.
This diverse mix gave rise to a fluid musical environment where influences effortlessly conjoined. The global rise of Afrobeats was further propelled by influential UK labels, harnessing streaming platforms and the flourishing multiculturalism within Europe’s underground scene.
In 2013, Wizkid released the game-changer, Ojuelegba and the tag Afrobeats to the world became a continental movement, with Nigeria at the forefront.
Fast-forward to 2018, Burna Boy made Ye while Wizkid complemented once again with Essence in 2020. In between, other Nigerian stars like Davido, Runtown, Tiwa Savage, Yemi Alade and a host of others made their huge contributions with great songs.
These singers carved their niches through the spectrum of an indigenous sound, which evolved as they progressed in associations, reach and more importantly, listeners.
However, in the cause of their evolvement and reach, they have been relegated to a demographic and thus have been excluded from recognition alongside other genres.
For instance, Burna Boy made I Told Them – a Hip-hop eccentric album but found his recognition in the Afrobeats category in every nomination.
This was the same with Wizkid for his Made In Lagos Album and More Love Less Ego album, which were heavily influenced by pop sounds and elements.
And this results in the displeasure of these artistes.
So, what are they trying to achieve?
First, the change in sound and the distinctiveness to be recognised in other genres such as Hip-hop, RnB, Soul etc. This is aimed to compete at the global stage with other nominations, instead of being caged under the “Afrobeats” tag.
Furthermore, the narrative aims for diversity and acceptance from fans of various races, encouraging them to recognize these artists as the stars they truly are, independent of any specific affiliations attributing to their success.
Personally, the end seems uncertain, however, the nudge to denounce one’s identity is succinct to not have at all. What happens when you are reminded you are a Nigerian even if your sound is westernized and there is a category for your “people?”
There are the “Marleys”, who have been ingrained to the reggae beat, and not at a point have they felt the need to compete in the Afrobeats genre, neither denounced it.
This is the same with other world stars like Beyonce, Ye, J Cole, Chris Brown, Adele, Angelique Kidjo, and many more living in the blossoms of their rooted sounds.
We find that for a sound to be progressive, all stakeholders have to be involved; from the makers to the listeners. So, when an artiste denounces his heritage, either for recognition or to express his displeasure, it is as good as denouncing his foundation.
Afrobeats has not hit its peak, as it is still relatively young compared to other genres like reggae, hip-hop, soul, RnB, latin and others.
Music artistes, particularly A-list should embrace the uniqueness and glide on its wings rather than denounce it, which ultimately leads to its downfall and derecognition.