But just as the foundation for a sustained “Afrobeats to the World” era was being laid, recent trends point to a creeping decline. The numbers aren’t as promising, the buzz is thinning out, and the genre’s once-prominent global momentum appears to be stalling.

At the root of this slowdown lies a complex web of issues, from an underdeveloped industry structure at home to inconsistent international infrastructure. However, one of the more subtle yet significant problems is Afrobeats’ ongoing struggle with identity. A genre that blends elements of hip-hop, dancehall, R&B, highlife, and more. Afrobeats was always destined to be fluid—but its refusal (or inability) to define itself clearly has become a roadblock on its global path. At the height of the movement, everything seemed aligned. Burna Boy had “Ye” and the Grammy-winning ‘Twice As Tall’, CKay’s “Love Nwantiti” broke into North American charts, Tems pushed deeper into the U.S. market following her collaboration on Wizkid’s “Essence”, and Rema went global with “Calm Down”.

The West was curious, eager to understand this vibrant sound. But when asked what Afrobeats truly is, there was no consensus. Artists offered vague, shifting answers, often shaped by personal branding rather than collective identity. Many distanced themselves from the label altogether, coining their own genres like ‘Afro-fusion”, “Afro-rave”, or even “Afro-depression“—attempts to individualize their sound while escaping the ‘Afrobeats’ box.

In contrast, genres like reggae, for example, are not just musical styles, they’re extensions of cultural identity. Reggae is synonymous with the Jamaican experience. It’s more than sound; it is language, philosophy, and lifestyle. Meanwhile, global Afrobeats artists seem to champion personal expressions over communal representation. That’s not inherently bad, but without a defined core, what exactly is the world being asked to embrace?

The genre’s identity confusion has been worsened by the public remarks of its biggest stars. In a now-notorious interview with Apple Music, Burna Boy claimed that Afrobeats is “mostly about nothing” and lacks substance. Wizkid has also distanced himself from the genre, stating he can make music in any style and doesn’t consider himself bound to the Afrobeats label. These statements—however true to the artist’s intent—undermine the genre’s cohesion, especially in the eyes of a global audience trying to make sense of it all.

Davido once half-joked that the only difference between Afrobeat and Afrobeats is “the ‘s’.” And while Afro B later helped clarify the historical and stylistic distinctions, the fact remains: when the world asked us who we are, we often replied with confusion, self-interest, or vague humour.

This identity problem reared its head again at the 2024 MTV VMAs, where South African singer Tyla won Best Afrobeats for “Water”—a track rooted more in Amapiano than anything traditionally West African. While Tyla graciously used the moment to highlight that not all African music is Afrobeats, the damage was already done. Critics argued that “Water” had Afrobeats elements, but the larger point lingered: the term is being stretched beyond recognition.

How can a genre be exported successfully if its creators resist clear definition, its industry lacks structure, and its biggest stars often reject its label?

The truth is, the Afrobeats movement wasn’t built on a strong foundation. You can’t build a house from the roof down. Without solid categorisation, internal consensus, and cultural framing, global interest will eventually plateau. And now, the cracks are beginning to show.

The post-modern Afrobeats phase, which was once a rallying cry—”Afrobeats to the World”—is starting to sound more like a question than a declaration. Unless stakeholders (artists, producers, journalists, and audiences) can agree on what Afrobeats truly is and what it represents, its world domination may remain a dream deferred.

Share your thoughts on the topic: Afrobeats and the Identity Crisis That Stalled Its Global Momentum

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But on the other side of the coin lies a new phenomenon that has undermined the quality of music and ultimately reshaped the way fans consume it. Now driven by a needless obsession with streaming numbers and vain metrics, the consumer’s spark for the art of music is increasingly divided between the music itself and what should be backend data reserved for artists and their teams. As a result, musicians are forced to bend to consumer desires, recreating “success” templates. The outcome? Watered-down music quality, as artists now share their creative autonomy with audience expectations.

Today, a standard exists—particularly in Nigerian music—where quality is synonymous with how high a song charts on DSPs and similar KPI-showcasing platforms. And in the present day, the side effects have rippled across the industry, affecting artists and consumers alike. The rise of illegal streaming farms, a decline in artistic integrity, and a growing fixation on numbers rather than the music itself have all taken root. A US survey highlights that charts aren’t democratic but are influenced by heavy listeners to on-demand streaming services. It also alludes to the idea that there are differences between music that tops the charts and “favorites” or “classics”.

But who is really to blame? And can the obsession with metrics and how it undermines artistic quality be remedied?

Who Is to Blame? The Role of Artists, Fans, and the Industry

The obsession with these metrics is not the fault of one entity alone; it is a collective creation of the music ecosystem.

Artists, in their bid to prove their worth and dominance, have weaponized these metrics. Apple Music charts, for instance, have been turned into a vanity metric, with artists using high rankings as ammunition to shame their peers and engage in public feuds. Instead of celebrating artistic ingenuity, discussions around music are now filled with streaming wars and first-week numbers.

Fans, on the other hand, have become enablers of this culture. Instead of appreciating music for its craft, they engage in “stan culture,” where numbers are used as the ultimate proof of an artist’s superiority. Streaming parties, mass pre-saves, and coordinated social media campaigns—while effective in boosting an artist’s visibility—often prioritize numbers over genuine artistic impact.

The industry, including labels, DSPs, and media platforms, also bears responsibility. With playlist placements now gatekeeping success, labels manipulate streaming algorithms and push for numbers at the expense of creative risks. DSPs, in turn, amplify songs that fit their engagement models, forcing artists to tailor their sound to what is algorithmically favourable rather than what is creatively fulfilling.

The Metrics That Dictate Today’s Music Industry

In today’s music industry, success is no longer solely defined by a song’s cultural impact or its ability to evoke deep emotions. Instead, it is quantified by data-driven metrics that serve as the new benchmark for greatness. The most prominent of these metrics include:

Streaming Numbers – Platforms like Spotify, Apple Music, and Audiomack have made streaming counts the primary currency for measuring a song’s reach. The more streams a song garners, the more commercially successful it is perceived to be, regardless of its actual artistic value.

Chart Positions – Apple Music’s Top 100, Billboard’s Hot 100, and TurnTable Charts in Nigeria are now the definitive proof of a song’s dominance. Artists and fans use chart rankings as a bragging right, often disregarding the fluidity of these lists and the factors that influence them.

YouTube Views – In the visual era of music, artists are now pressured to amass millions of views within hours of a video’s release. The race to hit trending spots has made numbers more significant than the content itself, leading to clickbait tactics and inflated view counts.

Social Media Virality – Platforms like TikTok and X (formerly Twitter) have birthed a trend-driven music industry where success is dictated by how often a snippet is used in viral challenges or how many times a song is mentioned in trending conversations. The power of virality has made artists chase short-lived trends over timeless artistry.

Shazam Charts – Once a simple tool for discovering unknown songs, Shazam has now become another yardstick for success. Artists and their teams intentionally push campaigns to boost Shazam numbers, making organic discovery less authentic.

Radio and TV Spins – While not as dominant as streaming, radio and TV play counts are still regarded as important KPIs. Artists who secure heavy rotation are deemed to have a bigger impact, even though playlist curation on major stations is often influenced by label power and industry politics.

The Side Effects of the Metrics Obsession

This relentless chase for numbers has led to several damaging consequences.

1. The Rise of Streaming Farms – The artificial inflation of streaming numbers has become a norm. Illegal streaming farms, where bots artificially boost plays, have emerged as a dark underbelly of the industry. These inflated numbers deceive consumers, artists, and even DSPs, creating a false sense of demand.

2. A Decline in Artistic Integrity – Many artists no longer create music with the intent of self-expression. Instead, they tailor their sounds to fit algorithmic preferences, prioritizing catchy hooks and viral snippets over depth and storytelling. The result? A repetitive, formulaic industry where distinctiveness is rare.

3. Fan Disconnection from the Art – With fans more invested in numbers than music, the emotional connection between artists and listeners has weakened. Instead of celebrating the depth of an artist’s lyrics or the innovation in their sound, discussions are often reduced to chart positions and first-day streaming milestones.

4. Shorter Lifespan of Songs – Due to the emphasis on trends, many songs today are created for short-term impact rather than longevity. The industry has shifted towards microwave music—tracks designed to go viral quickly but disappear just as fast.

Can This Be Remedied?

The solution to this growing problem requires a fundamental shift in how success is perceived in the music industry. There needs to be a cultural reset where fans are encouraged to appreciate music beyond numbers. Industry stakeholders must foster conversations around artistic quality rather than just streaming achievements.

Streaming platforms should implement stricter measures to curb artificial inflation, while chart systems should incorporate more qualitative measures, such as audience engagement and longevity, rather than just first-week performance. Labels and DSPs should work together to eliminate fraudulent streaming activities and restore authenticity in music consumption.

Artists must take back their creative autonomy by prioritizing artistic integrity instead of bending to algorithm-driven success. Some of the most impactful albums in history were slow burners, proving that quality often outlasts trends.

Ultimately, the music industry’s obsession with metrics is a double-edged sword. While data-driven success has its advantages, it should never come at the cost of artistry. The true test of great music has never been in its numbers but in its ability to connect, inspire, and transcend time.

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Fake Streams = Fake Success
Big numbers look impressive, but when those numbers don’t represent real listeners, they’re just hollow stats. Fans and industry insiders quickly catch on when an artist’s streams don’t match their actual popularity. Imagine having millions of streams but struggling to sell out a small venue—awkward, right? The trust and credibility of an artist take a huge hit, making it harder to build genuine connections with fans. Real success comes from authentic love, not inflated numbers.

Getting Caught Could Ruin Everything
Think streaming platforms don’t notice fake streams? Think again! Spotify, Apple Music, YouTube, and other platforms have sophisticated systems in place to detect manipulation. If an artist is caught using streaming farms, the consequences can be severe, songs removed, accounts suspended, and sometimes permanent bans. Worse still, the music industry frowns upon such practices, so labels, sponsors, and collaborators might hesitate to work with artists tied to this kind of scandal.

It’s a Money Pit, Not an Investment
Contrary to what it seems, streaming farms don’t come cheap. Artists end up spending money on fake streams, only to gain nothing in return. Worse, losing streaming privileges due to manipulation means losing out on actual income from genuine plays. Plus, a tarnished reputation can cost artists future gigs, brand partnerships, and fan loyalty. So, instead of earning, it becomes an expensive and embarrassing mistake.

The Real Takeaway
Music is a journey, not a shortcut. True success comes from building an authentic connection with fans, one step at a time. Viral fame may take longer, but it’s worth the wait when it’s real. Artists who focus on growing their music organically enjoy a deeper bond with their audience and a career built on substance. So, here’s the golden rule: ditch the bots and trust the process. Real streams, real fans, real success, it’s the only way forward.

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A year after the sudden and tragic death of Nigerian singer Mohbad, the quest for justice remains unresolved, and the Nigerian music community continues to feel his absence deeply. His untimely passing on September 12, 2023, shook the industry as fans and fellow artists mourned the loss of a young artist who was widely loved for his unique style, blending street-hop with deeply emotional and relatable lyrics. His death, which was shrouded in controversy and allegations of foul play, sent shockwaves through the industry and the nation at large.

Mohbad, born Ilerioluwa Aloba, was gaining significant momentum in the Afrobeats scene before his death. His music, which resonated with the struggles of many young Nigerians, coupled with his authentic street-hop style, had made him a rising star. Songs like “Feel Good,” “Sorry,” and “Peace” were anthems that showcased his ability to turn personal pain and societal frustrations into art. However, his journey was not without its dark moments.

A Nation in Mourning

Mohbad’s death was met with widespread grief and disbelief. His passing was seen as a huge blow to the Nigerian music industry, which had been experiencing a surge in popularity and recognition on the global stage. Many fans expressed their shock and sadness on social media, sharing their favorite songs and memories of the late artist.

The unexpected nature of Mohbad’s death, coupled with the allegations surrounding his passing, fueled public outrage and demands for justice. The incident sparked discussions about the challenges faced by artists in the Nigerian music industry, including issues of exploitation, bullying, and lack of support.

Prior to his death, Mohbad had publicly spoken about being bullied and harassed by his former record label, Marlian Music, led by Naira Marley. Videos and allegations surfaced showing the artist being harassed by people allegedly linked to his former label boss. These controversies have placed a pall over his career, raising concerns about his safety and mental health. Fellow artists, like Bella Shmurda, revealed that Mohbad had even attempted suicide due to the pressure he faced.

Police Investigations and Court Proceedings

In the aftermath of his death, his family and fans have repeatedly demanded justice, pointing out lapses in the initial investigation. According to reports, there was no proper forensic analysis conducted on key pieces of evidence, including Mohbad’s phone, which might have held critical information regarding the events leading to his death. His mother also expressed her belief that her son’s death was not accidental, fueling public calls for a more thorough investigation.

The Nigerian Police have since launched a coroner’s inquest and set up a 13-man team to investigate the circumstances surrounding Mohbad’s death. Several individuals connected to the case have been questioned, and an autopsy was conducted. However, progress has been slow, leading to growing frustration from the public and Mohbad’s family.

A year on, the cries for #JusticeForMohbad remain loud, as fans, friends, and family members continue to demand accountability for his death. The case has become a rallying cry for those who believe that the artist was treated unfairly and that his death was not a mere accident. As the legal proceedings continue, his legacy lives on through his music, which still resonates with many, but the wound left by his untimely departure has yet to heal fully. Mohbad’s death is a stark reminder of the dangers artists face when entangled in industry politics and personal conflicts, and many hope that justice will eventually be served.

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Taking a fast trip back in time to the early days of the Nigerian music industry, the 1960s and 1970s saw the emergence and efflorescence of the Afrobeat sound, championed by the legendary Fela Kuti. Every man and woman in Nigeria who knows anything about music is familiar with this narrative of history. Often documented alongside the Afrobeat patriarch were his male colleagues, such as Orlando Julius, Segun Bucknor, Chief Osita Osadebe, Chris Okotie and so on.

The preservation of Nigeria’s musical history raises critical questions about women’s roles in Nigerian music, as well as their contributions and impact on the industry. And, if so, why are they not as noticeable as their male counterparts’? What role did the media play in this, or was it simply the outcome of a patriarchal society? Of the days when women weren’t allowed to drive a car as it was considered a masculine activity.

Notable Female Artists

Notable Nigerian Female musicians that contributed their craft, like the Lijadu Sisters, Sandra Izsadore, Christy Essien-Igbokwe, Mona Finnih, and Christy Ogbah, were crucial in the development of the Afrobeat genre and its evolution. However, the successes and waves made by female musicians in Nigeria’s music industry were usually overlooked or underreported in comparison to their male counterparts. In an article for British Vogue by Nigerian music journalist Makua Adimora, “The efforts of many of these women are lost to us mainly because recording and documentation of music back then was costly and the labels and individuals – local and foreign – with financial access to record these women and document their careers were simply uninterested. Nevertheless, despite the erasure, they paved the way for Nigerian female artists…”

The fragmental documentation of key female players in the Nigerian music industry since its inception is one of several factors that have contributed to women’s under-representation.

The Lijadu Sisters

Born in Ibadan, Colonial Nigeria, on October 22, 1948, the Lijadu Sisters were Fela Anikulapo Kuti’s identical twin cousins and prominent female vocalists from the early Afrobeat era in the mid-1960s before their retirement from the music scene in the 1980s. The legendary Nigerian duo were known for their unique harmonies blended Afrobeat with Jazz, Disco, Afro-pop, Soul, and politically themed song lyrics that addressed the political unrest in Nigeria. In 1972, they performed alongside Ginger Baker’s band Salt at the Munich Summer Olympics, with the New York Times describing the Lidaju sisters as “smiling free spirits.”

Dubbed Soul Sisters, their music was influenced by “Queen of Soul” Aretha Franklin and South African singer and civil rights activist Miriam Makeba. In 2006, Nas, an American rapper, sampled “Life’s Gone Down Low,” a song from the ‘Danger’ album, as “Life’s Gone Low” on his mixtape without recognising the duo. Sadly, in 2019, Kehinde of the Lijadu sisters passed away at 71, with the family having to set up a GoFundMe to raise money for her memorial service. 

Sandra Izsadore

Popularly called “Queen Mother of Afrobeat,” Sandra Izsadore is a singer, musician, author, and activist who met Fela Kuti in California during a tour in 1969. Sandra, who was heavily affiliated with the Black Panther civil rights movement, influenced Fela and revitalized his music and political ideas, hence birthing the Afrobeat sound. She is the only featured lead vocalist on Fela’s music to date, having performed on the song ‘Upside Down’ in 1977. However, the story of women like Sandra Izsadore is only ever told as a phase in Fela Kuti’s life, music, career, and activism. Sandra featured in the 2009 Tony Award Broadway musical ‘Fela’ and in a chapter of Fela Kuti’s own Biography “Fela Fela This Bitch of a Life” written by Carlos Moore.

The Role of Media and Record Labels

It is the sacred obligation of the media to preserve history and the underreported accomplishments of Nigerian women with the same due diligence afforded their male counterparts. And in the last decade, all these have been slowly rectified by the collective effort of the media, record labels, and a significant increase in culture journalists who are keen on showcasing women and their craft.

In addition to the media’s influence—or lack thereof—record labels also have an impact on how women are portrayed in the music business. For instance, it is alarming to see how few female artists there are compared to male artists on the rosters of major record companies in Nigeria, which serves as more evidence that the issue of women’s under-representation in the early stages of the industry still exists. According to a Nelson C.J. article for Teen Vogue, finance and culture have an impact on how women are represented in the field. The label’s anxiety about having to spend more money on creating the stereotyped, socially acceptable, sexually attractive image while simultaneously attempting to produce music that aligns with the cultivated image. This is a process male artists aren’t necessarily subjected to. 

For instance, since its founding, Mavins has only ever signed three female artists, whereas YBNL has signed one. Record labels have considerable influence over the kind of music that is accessible for consumption by listeners. And in some way, this has made fans’ subconsciously prejudiced towards the small number of female musicians in the business stronger. Even when female musicians are making new marks, there are many who believe that women lack the talent of their male counterparts. 

The statement cited was from a post made on X (formerly known as Twitter) by one of Afrobeats contemporary leading artists, Ayra Starr. The post wasn’t an outburst; rather, it was a light-hearted response to a series of derogatory remarks about her physique made by trolls and cyberbullies. Nevertheless, the statement elicited more snide remarks—which, had they come from a male artist, would have been a ‘speak your truth moment.’ But this is the case despite  Ayra Starr being the most streamed female musician in Nigeria, Ghana, Kenya, Rwanda, Tanzania, and Uganda in 2023; hence, the humorous statement could not be more accurate. And this is only one of her numerous accomplishments. Her sophomore album ‘The Year I Turned 21’ received ratings of 8 from Clash, 9 from Pulse, 8 from The Native, and 7 from Pitchfork. 

However, women like Oyinkansola “Foza” Fawehinmi, a lawyer and entertainment executive; Mavin Records’ Director of A&R Rima Tahini; Osagie Osarenz, Director of A&R/Operations (Africa) at ONErpm; Tosin Sorinola, Snr. Director Of Marketing & Operations, Africa Empire; and Journalist, Gracey Mae are making their way and holding executive positions, but they had to overcome the bias and barriers that once stood in their way.

This is positive in comparison to the early days of the Nigerian music industry, but more should be done to encourage healthy competition between women and their counterparts rather than restricting the music industry to a playing field contestable by only men.

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