The Cultural Dilemma: Will Afrobeats Lose Its Nigerian Roots? No

The VMAs, a global award body, has just announced this year’s nominees and included Usher in the ‘Best Afrobeats’ category.

This recognition signifies a major milestone for Afrobeats, showcasing the genre’s global reach. However, as Afrobeats continues to gain worldwide acclaim, critical questions arise about its cultural future.

As Afrobeats takes the world stage, will it maintain its Nigerian roots, or will it become disconnected from its origins? The current structure of the music industry suggests a concerning trend. With a decade of minimal gatekeeping and local talents conforming to the interests of major international music companies, there’s a real risk of losing cultural ownership.

Foreign investments and opportunities have brought immense growth but at a cost. These companies have moved Nigerian music away from home, relocating the business and creative processes to foreign lands. This shift leads to a dilution of the authentic sound and spirit of Afrobeats. Nigerian artists, now collaborating with foreign producers, are contributing to this disconnect. The narrative that London, not Lagos, is the home of Afrobeats, is gaining traction.

London, a place far removed from the cultural heart of Afrobeats, is being positioned as its new epicenter. The foreign producers involved lack a genuine connection to Nigeria, focusing instead on commercializing and diluting the sound. Meanwhile, true custodians of the genre in Nigeria are being overlooked.

This transformation is evident in the industry’s metrics for success. Nigerian artists’ achievements are now measured by their recognition abroad rather than their impact at home. Selling out venues in Western countries and winning international awards are prioritized over local success. This shift has made the culture increasingly inaccessible to the Nigerian masses.

American artists are now venturing into Afrobeats, with minimal involvement from Nigerians. This trend could lead to a future where the genre is dominated by non-Nigerians, relegating its originators to the sidelines. While Nigerian producers like Pheelz are still involved today, their role might diminish as the cultural transfer completes, and international artists gain more confidence.

The grim reality is that Afrobeats might retain its presence in global markets, but its essence and ownership could slip away from Nigerians. This pattern mirrors the experiences of Jamaican and Caribbean cultures in the past, highlighting a historical cycle of cultural appropriation and loss.

As the global music industry continues to shape the future of Afrobeats, there is an urgent need for Nigerians to reclaim and protect their cultural heritage. The genre must not only thrive globally but also remain rooted in its Nigerian origins, preserving its authenticity for future generations.