We need to talk about afrobeats
a need to reevaluate stringent genres
Popular music from Africa is omnivorous by nature, drawing influences from pop, rap, r&b and regional styles like Azonto, highlife, GQOM etc. This absorbing template has been alive since the ’70s – and likely before – when Fela invented his Afrobeat sound by blending highlife and Jazz compositions for his politically charged songs. The same format was employed by artists such as D’Banj and 2Face, whose exposure to hip-hop and r&b led to an infusion of those sounds within their distinctly Nigerian sonic predilections.
As the consumption of music became increasingly globalised and diaspora communities were able to more readily access music that would connect them back home, these champions of pop music from West Africa became increasingly more invested in UK communities, as their music became the coveted soundtrack to diaspora communities looking to celebrate their roots. This was the birth of “Afrobeats”, a term coined by London DJ, Abrantee who noticed the demand for Nigerian and Ghanaian songs in the UK, taking inspiration for the genre name from Fela’s Afrobeat style, with which the world was already familiar.
“I thought; you know what, let’s put it all back together as one thing again and call it Afrobeats as an umbrella term”, he explained in a Guardian interview from 2012. Though Abrantee went on to admit that Africa is too big for him to keep up with all the sounds and that the tag was specifically for the West African sound of Ghana and Nigeria, regardless of what the music actually sounded like, Afrobeats became the catch-all tag for African music in the UK.
This malpractice still exists today. In his recent feature in Wonderland magazine, Ladipoe was initially described as an “Afrobeats rapper”, an erroneous label which has already been corrected to state simply he is Nigerian. Still, the hyperlink attached to the rapper’s nationality takes us to a page about Afrobeats, Wonderland’s pick of the “10 most addictive routines to learn during this lockdown”, thereby re-iterating their initial statement that suggested African artists make Afrobeats.
The ubiquity of the genre tag doesn’t end when it comes to describing music from the continent, and even UK artists of African descent are prey to this false classification of their music being Afrobeats too. For some UK artists, one could agree that it’s a fair definition, however, for most, Afrobeats is simply an influence. As the sound continued to dominate club raves in the UK, Afrobeats stopped being exclusive to African indigenous, and UK rappers such as J Hus soon started to explore Afrobeats melodies in their music. Though J Hus made no secret of taking inspiration from Burna Boy’s Afro-fusion style, the UK scene at large still insists on Afrobeats being the legitimate title for the genre of music he creates, fostering a sense of discord in what was an already contested genre.
J Hus isnt an Afrobeats artist. https://t.co/fmzjvU8W6j
— DJ Semtex (@DJSemtex) July 21, 2020
Engulfing J Hus and Ladipoe into the genre of Afrobeats doesn’t look much different from insisting that Lil Nas X makes rap music. “Old Town Road” is a country record and J Hus’ “Must Be”, which sits at the top of the Official UK Afrobeats Chart, is similarly not an Afrobeats song.
Like the ‘Urban’ category that Tyler, The Creator chastised as he held up his Grammy, Afrobeats has morphed into a synonym for ‘African’, a dangerous definition that conflates diverse sounds around the continent with her diaspora communities. As J Hus, Rema, Burna Boy and Afro B rub shoulders on the UK Afrobeats chart – a compilation of the top 20 Afrobeats songs of the past 12 months, based on data from stream services in the UK – the question ‘what is Afrobeats?’ never seemed more pertinent. If we are looking to create a structured system to assess the growth and success of the genre, we must first take steps to properly consolidate what the genre actually is. As evidenced by the backlash from fans in Nigeria and music critics dotted around the world who couldn’t help but notice that the African artists on the list were at the bottom, there is a grave risk with creating a chart for a genre that is yet to be refined. The chart isn’t the tool by which we consolidate the already contentious genre of Afrobeats; before we look to rank Afrobeats, we actually need to talk about Afrobeats.
Following that, we need to talk about the genre-boxing that necessitates the existence of such a chart in the first place. UK Drill hasn’t had a chart yet; the decades-old genre, Grime has never been dedicated to its own ranked list. There was Channel U and now other TV and radio stations dedicated to playing these genres, as there are with Afrobeats. With these platforms alone, the music thrives, the people still know what’s hot and artists still know who they’ve got to conquer to reach the top of the Drill or the Grime or Afrobeats totem pole (even though they always strive for more). Artists’ ambitions aren’t boxed in by genres and this is reflected in the music they make. Since globalisation has exposed musicians from all over the world to a broader range of sounds, which encourages them to widen their scope of music-making, it’s time we do away with the archaic constriction of genres, rather than double down on a widely criticised term, which has no universal acceptance.
Challenging J Hus’ label as an Afrobeats artist, Jae 5, who agrees with DJ Semtex that “J Hus isn’t an Afrobeats artist”, describes how his frequent collaborator defies the borders of any one genre saying, “he is [sic] not a Hip-Hop artist, Grime artist, R&B etc. Two genres he’s most influenced by are hip hop and afro beats. He is either both or neither.” Jae 5 himself is a genre-bender. Inspired exclusively by Juls’ beat on “Skin Tight”, Jae 5 reveals that he considers his “Did You See” beat as “100%” Aforbeats, whilst “Friendly” is “more techy”.
If Jae 5 himself can’t attach an exclusive label to “Friendly”, how do we hope to rank songs that we had no hand in creating? Some listeners find it ridiculous that “Did You See” would be termed Afrobeats, and though Jae 5 himself insists that the beat is, what elements of a track go towards defining the genre and in which proportion? Who gets to decide which song belongs to the Afrobeats genre enough to earn a spot on the chart? Do the producers and artists have to submit a genre? Do the algorithms sort through the raw audio models (one of Spotify’s Discover Weekly algorithms) to determine what sounds like what enough to be considered Afrobeats? If that’s the case, which song is the benchmark?
This Official UK Afrobeats Chart clearly aims to be a joyful celebration of African culture, and with dark clouds of uncertainty and heated debate shrouding it, beyond reiterating to listeners which of these songs from Africa or of African descent are popping, Tobi Oke, Writer/Editor at Apple Music, believes the chart is likely not to make any sort of remarkable dent in the industry:
“I think it’ll help with categorising the music for record labels, radio and A&R processes, but away from that, it won’t have much of an impact on the scene or music in my opinion.”
He goes on to say, however that
“There are several genre charts released each week without much knowledge or fanfare and many of them have artists on them not precisely within those boundaries so shouldn’t be stressed over too much. If everyone remains aware and respectful of where the influence is held and actually originates then it shouldn’t affect anything. If it’s used a cue to claim the king of afrobeats – or anything like that – then we’ll certainly have issues.”
This is hilarious because the actual Afrobeats artists are at the bottom https://t.co/edDZa03qC1
— King Kaz.
(@Unkle_K) July 21, 2020
Over in Nigeria however, one of the country’s from which the Afrobeats sound originated, it does seem to matter that UK artists who are making divergent music simply inspired by our sounds are leading the charts, with our West African pop stars like Burna Boy, Davido, Wizkid, Mr Eazi, Rema, Naira Marley and Tekno trailing behind. This conversation resembles the debate surrounding Lil Nas X’s “Old Town Road” being denied its rightful place on the country charts, or Ari Lennox’s and fans querying why Lizzo’s seemingly pop album, Cuz I Love You took home the Album/Mixtape of the Year at the 2019 Soul Train Awards. These repetitive objections poke infinite holes in the complicated practice of genre-boxing, making it crystal clear that our present way of doing things is outdated for the world we live in now. Unfortunately, these issues of who does and doesn’t belong will persist if we keep boxing in artists and their music through awards and charts.
It’s time to let go – of genres, of charts and awards maybe, but first, of “Afrobeats”.
Featured image credits/Official
Words by: Debola Abimbolu & Adewojumi Aderemi
ICYMI: Is it mesmerising? Is it triggering? Is it cake?
Rema Has Another Banger With Explosive “Kelebu”
The Rave Lorde has kept to his word to deliver a summer hit.
Rema has released his highly anticipated new single “Kelebu.” Early last month, the Benin-born star took to social media to promise an incoming summer release. ‘Still owe y’all that summer Banger,’ he tweeted. Weeks later, he gave more insight about the direction of his forthcoming release, tweeting, ‘Ok.. I want y’all to DANCE this summer!’
After much anticipation, the singer posted a snippet of “Kelebu” in usual fashion, promising $10k for whoever comes up with an easy dance challenge and raising excitement for what is probably about to become a dancefloor staple quickly.
The self-proclaimed Rave Lorde seemed to have favoured a more tempered approach in the last few months, opting for the sheen and soulfulness of R&B on his first two releases of the year. “Baby (Is it a Crime),” which had already taken on a life of its own even before its official release, gives Sade’s 1985 classic “Is It A Crime” an Afropop and R&B facelift, while “Bout U” sounds like it was picked out of a 2004 Marion Winans release.
With the release of “Kelebu,” Rema returns to the familiar chaos of 2024’s ‘HEIS,’ borrowing from an array of genres to create what is, without a doubt, one of his most exhilarating releases to date. Teaming up with close collaborator London and the German-born Ambezza, “Kelebu” takes inspiration from a host of regional genres like Dominica’s Bouyon and Mara, the new Street-Pop subgenre that’s recently come into prominence. There’s also strong Makossa and Coupé-Décalé influences across the track as Rema tears through the riotous beat with breakneck pace.
Whether “Kelebu” fits into a bigger picture or is the start of something new remains to be seen. You can never be too sure with Rema. He could be teasing several Trap-inspired songs one minute, and then go ahead to release a sensual R&B record the next. The Mavin star is somewhat unpredictable, and that’s part of his huge appeal. You’re not certain what comes next, but you’re seated for the ride regardless.
Listen to “Kelebu” here.
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The Locales That Shaped Our Favourite Afropop Stars
Markers of those places inevitably show up in the music of our favorite stars, enriching our soundscape and...
The concept of origin and heritage has never been more important in Afropop than right now. As the edges of the sound broaden and influences spring forth from all over, artists are increasingly taking on ambassadorial roles that see them represent the people, attitude, and ideals of where they hail from. Whether by birth or upbringing, artists are intrinsically tied to and influenced by these places where they have spent significant time socialising and soaking up influences. The markers of those places inevitably show up in their music, enriching our soundscape and furthering our collective cultural memory.
Whether it is Olamide putting on for Bariga on “Oga Nla 1” in tandem with Alhaji Wasiu Alabi Pasuma and Lil Kesh or Burna Boy beautifying Port Harcourt on “City Vibration,” we get a glimpse into these places beyond run-of-the-mill news that doesn’t offer a rounded perspective on the inner workings of the community. We are at once witnesses to communal struggles and pain via these artists’ perspectives, as well as willful participants in their ascension to musical superstardom while doing their best to hold on to their communities.
We compiled a list of some artists whose rise and continued success pay homage to the communities that raised them.
Wizkid, Ojuelegba, Surulere
It’s pretty befitting that the quintessential Wizkid song is “Ojuelegba,” a cut from his 2014 sophomore studio album, ‘Ayo’. While the singer has paid homage to his birthplace on a few previous occasions, no song venerates the Lagos suburb quite like “Ojuelegba.” Even as he made the smooth transition from national hero to global superstar shortly after the release of ‘Ayo,’ the album’s standout track continued to serve as a melodious autobiography that helps establish his roots for those unfamiliar. The song’s accompanying music video also captures the suburb’s bustling energy, as well as the unforgiving conditions that produced him. – B.A
Burna Boy, Port Harcourt
One of the many things that Burna Boy speaks with pride about is his native Port Harcourt. He constantly ensures that his city is at the forefront of his craft, dedicating songs that either narrate his experiences in the Garden City or highlight some of the social and political issues plaguing his home city. Songs like “Where I’m From” and “Ph City Vibration,” highlights from his third studio album ‘Outside,’ double as sturdy deep cuts and brief history lessons about Port Harcourt. In late 2022, the pop star also released a short documentary for “Whiskey,” detailing the environmental crisis in his birthplace. – B.A
Olamide, Bariga
No Nigerian artist is as representative of mainland Lagos as Olamide Baddo. Still, even the mainland is not a monolith, as different areas have their quirks and unique colorations. Bariga, Olamide’s neck of the woods, has been an ever-present in his music from the very beginning of his career, providing inspiration and grounding for the street-pop juggernaut who references the lessons learned and tales handed down in his hood. “Money,” the opening track from his sophomore album, ‘YBNL,’ features a bus conductor calling out for passengers to Ladilak, Bariga, forever immortalising the Lagos hood on wax. On “Rep Adugbo” from his incendiary ‘Baddest Guy Ever Liveth,’ he’s similarly unabashed about his dedication to Bariga, its inhabitants, and authority figures. Even superstardom hasn’t dulled those representative instincts: on “Supplier,” from his 2023 album, ‘Unruly,’ he’s keen to remind anyone listening that he carries Bariga with him everywhere he goes. – W.O
Asake, Lagos Island
Asake could only have emerged from the crucible of Lagos Island. There’s something about his carriage that undoubtedly suggests an upbringing in the oldest part of Lagos, and even though he doesn’t always directly reference Lagos Island, the seeds of its influence are in the margin of his work. The back and forth between Islamic and Christian motifs in his work is a legacy of the religiously tolerant culture of Lagos Island, and his slang usage reflects a stint living in the ocean-side community. Perhaps the clearest sign of his connection to Lagos Island came on his third studio album, ‘Lungu Boy,’ a detailing of his come-up story from Lagos Island hopeful to global superstar. On “Uhh Yeahh,” he sings, “Beere mi ni Kakawa,” directly shouting out the popular street in Lagos Island. Visual elements of his tour dates from 2024 also heavily featured and celebrated the streets of Lagos Island as the singer leaned into his heritage. Places like Adeniji Adele, Freedom Park, and Marina were featured, letting the world know that Asake has not forgotten his roots. – W.O
Zlatan, Ikorodu
Zlatan Ibile takes great pride in giving game to ambitious young hustlers looking to move beyond the current situation of their lives. His rise from Ikorodu hoodrat to Nigerian Hip-Hop royalty is the stuff of legend, but the stories of his woes, troubles, and sufferings in Ikorodu keenly display the relentlessness and dogged determination that saw Zlatan make a name for himself. He’s keen to reminisce on those days from time to time. On “Elevated,” off SuperWozzy’s 2021 ‘Light Of The Trenches,’ he sings, “Won fe k’enu mi gbe seh, biti church rat/ Mo moyan pupo n’Ikorodu ton ti te Shoprite,” reflecting on the lack that plagues huge swathes of Ikorodu. It’s a similar impulse that births his verse on Ajebo Hustlers’ “Dreams II,” which features a reference to his mischievous streak growing in Ikorodu. – W.O
Rema, Ekenhuan Road, Benin
If the syrupy trap-adjacent flow Rema employed on his introductory project or his incursions into diverse genres on several occasions since then have fooled you, his 2023 album, ‘HEIS,’ was a defiant reclamation of his identity as a Benin boy. To be fair, ‘HEIS’ didn’t just drop out of the blues; the Mavin singer had been preparing his audience for that home-leaning lurch since he stepped on stage adorned in a replica of the iconic mask of storied Benin royal, Queen Idia, during his first sold-out concert at the O2 Arena in London.
Reminding his audience of the painful history of British incursion in Benin, Rema set the stage for ‘HEIS,’ an album steeped in Benin-specific lore and acts of remembrance. “BENIN BOYS,” his blockbuster collaboration with Shallipopi, could not have passed the message of his origin better. Featuring a shoutout to his old neighbourhood, Ekenhuan Road, and an urge to the Oba to award him a medal, “BENIN BOYS” is a larger-than-life celebration of his city. Taken together with the rage-inducing “OZEBA,” it was a spiritual return home for one of Benin’s most iconic sons that showcased his identity for the world to see. – W.O
Seyi Vibez, Ikorodu
No one puts on for Ikorodu quite like Seyi Vibez. While the singer was originally born in Ketu, it’s in Ikorodu that he honed his craft as a skilled musician. He’s referenced his upbringing and Ikorodu specifically in a lot of his earlier interviews and songs, and it’s in that same administrative division that he put together his first show that pulled a crowd of about 200 people. The singer returned in 2023 for a free homecoming concert as a way to celebrate and give back to the community that helped kickstart and support his musical journey. He’s continued to rep Ikorodu even in recent times, most notably on his hit record “Shaolin.” – B.A
Mohbad, Ikorodu
Mohbad was one of Ikorodu’s crown jewels. In August 2023, just about a month before his passing, the singer posted a video of himself on Instagram visiting his old neighbourhood in Ikorodu. He went around distributing gifts and reconciling with longtime friends without any security, interacting organically with a community that regarded him as one of their own. He put on for his community just as much as they did for him. After his unfortunate passing, the youth rallies that were organised in Ikorodu to commemorate and demand justice for his death highlighted just how important he was to one of Lagos’s most populous hubs. – B.A
Shallipopi, Sapele Road, Benin
Even if his golden drawl and sonorous pidgin didn’t betray his Benin heritage, Shallipopi wouldn’t pretend to be from anywhere else but his hometown. That Benin heritage is in how Shallipopi perceives the world, the way he talks, and, particularly, how he approaches his music. “Obapluto,” the standout on his debut project, ‘Planet Pluto,’ features a prominent sample of Pa Monday Edo’s “Ogbaisi,” an homage to the Oba of Benin. It’s a trick he repeated on “ASAP,” off his sophomore album, ‘Shakespopi,’ sampling Alhaji Waziri Oshomah’s “Ikwekiame Nedumhe.” The chorus of his 2025 hit single is almost entirely sung in Bini, displaying the reverence that Shallipopi has for Benin – W.O.
Omah Lay, Port Harcourt
On the opener of Omah Lay’s critically acclaimed debut album ‘Boy Alone,’ he’s unequivocal about where he’s from. ‘All of the way from Port Harcourt/Water Side,’ he sings proudly, emphasising the city that shaped his music and creative voice. Throughout the album, he makes multiple other references to his background, whether it’s singing in his native Ikweere language or name-dropping neighbourhoods like the Marine Base area. In a Hypebeast interview from 2022, the singer spoke about his city with similar pride. “Port Harcourt is different from the rest of Nigeria in the way that we talk, eat– everything. It’s really different. All of that definitely influenced my music so much because it was really tough growing up in Port Harcourt, but that experience made me who I am today. I’ll never forget that or stop repping my city.” – B.A
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Best New Music: Ayra Starr Turns Youthful Swagger Into Sensual Elegance On “Hot Body”
On “Hot Body,” Ayra Starr sings with the relaxed certitude of a woman in command of her sexuality and...
All year, Ayra Starr’s music, visual aesthetic, and social media presence have shown us a new version of her. She seems to be outgrowing the teenager we met in 2021, and molding her grown woman identity right in our presence. In the video for “Gimme Dat,” her second single of the year, featuring Wizkid, we see the red convertible that featured on the cover for her 2024 album, ‘TYIT21,’ and extensively across music videos from that era being blown up into a crisp. It seemingly symbolised the end of one era and the birth of “Hot Body” and everything it represents.
When Ayra was introduced, her music explored themes tied to youth and the emotional fragility that comes with navigating that period of your life. The ‘19 and Dangerous’ era showed us a self-confident teenager who was sure of who she wanted to be. However, “Hot Body” signals something entirely different. Produced by Ragee with additional input from The Elements, it’s crystal clear from the first listen that Ayra is owning her allure and agency.
Employing a rhythm that feels retro-made for a cross between GRWM prep with the girls and sweaty dancefloor shifts, her vocal delivery feels almost like an incantation. It’s seductive. She’s fully in control of your gaze and even dictates what you do with it. On “Hot Body,” Ayra Starr sings with the relaxed certitude of a woman in command of her sexuality and space.
Her performance here is rife with context. Having graduated from teenage histrionics on ‘19 & Dangerous’ to the introspective, emotional maturity of her 2024 sophomore album, ‘The Year I Turned 21,’ Ayra Starr has grown not only in voice, but in message and presence. ‘The Year I Turned 21’ charted at No. 1 across DSPs in Nigeria and cracked the US Billboard 200, making her the first Nigerian female artist to enter that chart. This is a clear marker of her ascension into adulthood, and we can hear it in the music and see it in its visual accompaniment.
“Hot Body” feels like the logical next step after ‘The Year I Turned 21.’ Where that record explored vulnerability, grief, ambition, and identity, “Hot Body” distills the confidence born from that journey into a potent, sensual exhale. She’s no longer defining herself against the world; instead, she’s defining how the world should perceive her.
Lyrically, “Hot Body” is playful but bold, with just enough suggestion to feel grown and sexy without losing the thrill of young self‑discovery. Sonically, it’s sleek and minimalist, yet it’s brimming with the palpable charm of some of the best music of the 2000s–think Beyoncé and Sean Paul’s “Baby Boy” or Rihanna’s “Rehab.”
The rollout for the song matched its effortless energy. A snippet on TikTok and Instagram teased an accompanying dance to the song, and fans responded instantly, turning the anticipation into instant engagement. Capped at two minutes, it’s a release primed for our era of bite‑size virality: short, immediate, and boasting insane replay value.
Yet, what distinguishes “Hot Body” from many viral tracks is the assuredness of Ayra’s journey. She stormed charts with “Rush,” became the youngest Nigerian woman to surpass 100 million YouTube views, and earned a Grammy nomination for it–a badge of early achievement and youthful potential.
That youth is now transfigured. On “Hot Body,” Ayra embodies her new identity. What once sounded like a prophecy has become her reality: global collaborations, awards, stadium stages, modeling runways, and a major film role all fit into a broader canvas that her early self prayed for. “Hot Body” sits at the convergence of Ayra’s journey. It’s youthful swagger that has mutated into deliberate elegance; curious vulnerability solidified into mastery; and ambition shaped into ownership.
“Hot Body” is made for the dancefloor, but when you’re alone, it’s the perfect backdrop for the walk of recognition in a well-lit room as you give yourself flowers. Ayra tells us in this song that she knows who she is, what she looks like, and that’s enough.
Listen to “Hot Body” here.
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