One of the benefits of Afrobeats’ popularity is the diversification of its fandom. In the past, a small circle of musicians like Tuface (now 2Baba), D’banj, and P Square dominated the scene. Now, both established stars and emerging artists enjoy a broad and dedicated fanbase. 

Additionally, allegedly, when Nigerian artists crossed over internationally, it marked a turning point in their sound. An example that explains this is Wizkid with his third album Sounds From The Other Side (2017). That same year, he signed with the label, RCA Records. The same with Davido and tracks like ‘If’ and ‘Fall’ and Burna Boy with ‘Outside’ who released these projects after they signed to international labels. 

The upside about what’s happening with the ‘new cats’, such as Rema, Tems, Ayra Starr, is they’re the next generation and they came with a shorter distance to ‘blow’ ratio. Their uniqueness shone so loudly that by their debut albums, they’re heading out on world tours, credits to Tems and Victony. 

The diversification of fandom and the accelerated rise of artists have collectively created a promising structure for new talent. This evolution has given rise to distinct sub-genres within Afrobeats, creating several channels to success compared to the past reliance on reality shows like Project Fame, The Voice, and Nigerian Idol to produce talent. However, this multiple-route–fame has also made it challenging for Afrobeats to produce new talent, resulting in a growing chasm between current hitmakers and their successors. 

Recognizing this potential, international labels are investing in Nigerian record companies with a proven track record of nurturing and developing artists, preparing them for global stardom. Notable examples include Warner Music’s partnership with Chocolate City, Universal’s multimillion-dollar deal with Mavin, and Def Jam Recordings’ collaboration with Native Records. 

Nigerian music executive Obi Asika dismisses the notion that Afrobeats artists must alter their essence to appeal to global audiences and labels. He told me how international labels have learned from their past mistakes in trying to adapt Afrobeats for their markets. He said: 

I don’t know a single successful Nigerian artist who changed their sound to adapt to anybody. Eazi didn’t change his sound in 2019, Burna Boy hasn’t, Wizkid hasn’t, and the same goes for Davido. 

In the past, sure, that’s what major labels did—trying to adjust artists for releases in their market if they thought it would help them sell. But in the first three or four years, Afrobeats artists were neither selling nor streaming in big numbers. This was exemplified by Davido and his album Son of Mercy, which was a cultural and commercial flop. For the past three years, they’ve realized that to enjoy the Nigerian experience, it needs to be authentic, and the Mavin deal is a testament to that. 

So, if those international music companies we looked to for entertainment back in the day are moving here to get our sound unadulterated and in mint condition, what really is the essence? Afrobeats has infiltrated American pop culture and perhaps world pop culture for life. Our culture as Nigerians, which includes Afrobeats, has left our shores and settled in the beautiful beaches around the world. 

So maybe Davido should have won the Grammy, considering all he’s done for the genre. Perhaps Wizkid, Fireboy, and Burna Boy were right to deny Afrobeats, considering how overpopulated the genre is these days. Perhaps Portable is the future?  

Could it be fear? The fear that we’d burn out as quickly as we’ve come. Was the tantrum of losing the Grammys coming from the fear of being forgotten? Is that why everyone is jumping the Afrobeats ship so as to not go down with the rest of the crew?  

While everything else is ifs and maybes, the fact that we obsess over global recognition and gratification happens to be a tumour in Afrobeats. Zaddy says he’s never been a fan of international gratification. ‘As Nigerians, we depend so much on international recognition, which is a good thing. Winning a Grammy is nice and all, but if you can’t win a Grammy,’ he said, ‘the success should be how many people you’re able to touch.’ 

Asika echoed something similar. He said, ‘The real win for Afrobeats wasn’t the nomination but Burna Boy’s performance that night.’ That night, Burna Boy became the first ever Nigerian to perform at the Grammys. But we’re so engrossed in winning or losing Grammys that we lost sight of what was important: the continued growth of Afrobeats. It’s still too soon to say if the tumour is benign or terminal, but hopefully, it’s nothing to worry about⎈