Africa’s musical landscape has undergone a significant transformation over the last decade. There’s been an increase in attention from genres that were once shared within small communities to those dominating on a global scale. Afrobeats and Amapiano, two of the continent’s most influential genres, have dominated the global music conversation.
This is evident through artists such as Tyla, Odeal, Uncle Waffles, and Amaarae, who have achieved international acclaim for their craft. However, beneath the celebration lies a complex truth that shatters this illusion: the cost of global recognition comes with tough burdens.
Afrobeats and Amapiano have almost become synonymous with African creative expression abroad. Amapiano originated in South African townships, blending house, jazz and kwaito into a cohesive sound. Afrobeats, with roots in Nigeria and Ghana, blends highlife, hip-hop, and dancehall with contemporary pop. Both genres are deeply rooted in local origins but are increasingly gaining global reach, achieving massive popularity in Europe, North America, and parts of Asia.
Increased attention can be attributed to digital platforms such as Spotify, YouTube, and TikTok, which amplify their audiences through curated playlists and viral challenges. An example of this is Tyla’s breakout success after her single “Water“ gained traction in this new music ecosystem. Behind the streaming numbers and sold-out concerts, however, are questions regarding sustainability and equity. The infrastructure that supports music production and distribution in much of Sub-Saharan Africa remains underdeveloped.
While digital platforms offer exposure, the financial return often fails to match the scale of engagement. As a result, monetization in many African markets becomes limited, with lower ad revenue rates and fewer high-paying sponsorship deals. Even in regions where monetization is possible, the payouts are significantly smaller than those received by Western artists. Furthermore, as the awards and attention roll in, inspiring upcoming artists on the continent, their passions might never be realized due to a lack of funding.
Moreover, the growth of African music has led to increased scrutiny of issues related to cultural dilution. As artists strive for broader appeal, a tension arises between maintaining authenticity and catering to the demands of international audiences. Some fans and critics worry that African sounds are being carefully adapted to fit Western tastes, raising concerns about the erasure of traditional music forms that do not align with current global trends.
This pressure is also deeply structural; major record labels and music platforms based in the West often hold disproportionate control over distribution, royalties, and visibility. In many cases, African artists sign contracts that favour global conglomerates, leaving them with limited control over their own catalogues and image. The absence of collective management systems in Africa also means artists may miss out on the royalties they are owed.
Alternatively, it is crucial to celebrate the strides the continent has made in establishing a cultural identity that meets Western demands. Artists across the continent continue to find creative ways to assert their identities while expanding their reach and inspiring others back home to do the same. Collaborations with global stars, innovative use of social media, and the redefinition of genre boundaries suggest that African artists are carving out a new niche for themselves on the global stage, rather than conforming to existing Western standards.
Additionally, the introduction of the Best African Music Performance category at the Grammys signals institutional recognition of this cultural shift. It acknowledges the need to reform and respect towards these artists. Although this does not guarantee institutional change to protect and accurately compensate these visionaries, it is a step in the right direction. Overall, the success of this cultural export will be measured by the empowerment it delivers back home.