IS THERE A SHIFT IN THE AFRICAN SOUND FOR WESTERN AUDIENCE?
Music is a universal language, but for the longest time, the rest of the world did not seem interested in what African artists had to say.
Now everyone is listening, unfortunately, it seems as though we’re changing our sound to retain their approval.
I want you to critically consider the legacy of African popular music and question whether contemporary African engagements with the diaspora, and western countries as a whole have changed in the last five-ten years.
It can be argued that the formal parameters of the musical genre “Afrobeats” (for some artists) have shifted towards a more eurocentric standard; at least on the surface, it looks like it. I’m not saying it’s a bad thing.
To a certain extent, I can even understand it; if history has taught us anything, it’s that music that fans love and the ones that win awards aren’t always one and the same.
Making music that is hugely popular with a western audience gets the attention of the gatekeepers and creates opportunities for artists, such as collaborations, deals such as Warner investing in Chocolate City’s talent development, international recognition, prestigious awards and funding.
Such perks may not happen for artists, at least not quick enough, without subtle alterations to their sound. It can be argued that artists such as Sarkodie, Stonebwoy and R2Bees who have largely stuck to the same Afro sound haven’t yet gained the same level of international acclaim like their counterparts across the border.
The market outside of Africa is significantly larger for streaming and buying. This allows artists to make more money. Other avenues for higher revenue beyond Africa include larger venue capacities whilst on tour.
We have seen Afrobeat sound transitions in artists like Wizkid and Burna Boy who have introduced a radical change to the music scene.
Other artists tapping into the Afro Fusion sound (think Rotimi’s The Beauty of Becoming and Goldlink’s Diaspora album) from other parts of the world means African artists have had to step up their game in order to stay competitive.
On the other hand, you could argue that artists aren’t making music for the western audience and are merely evolving their sound like every artist has a right to. In trying to appeal to a larger audience, I would argue that some of them are seeking to create a long-lasting legacy that goes beyond just “afrobeats”.
The Afro-beat in its purest form will always be Afrobeat. What Fela gave us can’t be changed, but a lot of the sounds coming out of Africa now are a hybrid of the beats and drums that the afrobeat is known for; fused with more contemporary sounds and influences from other genres such as pop, R’n’B swing, bashment, house, hip hop, trap etc.
Changing sounds isn’t new; several artists home and abroad have changed their sounds at one time or the other, examples include Pink, Rihanna and even now Beyonce.
Afrobeats – as we call it now – is a distinct sound, adding something else to it doesn’t necessarily change it, it simply modifies it. That is why a lot of the songs in Beyonce’s Lion King: The Gift are referred to as afrobeats.
However, one problem that seems to arise with artists changing their sound is the speed with which they transition, and in so doing, a lot of them often alienate their core fans in the process.
For example, albums like Wizkid’s Sounds From The Other Side, Davido’s Son of Mercy EP wasn’t necessarily made for their core Nigerian/ African fans, they were definitely exploratory bodies of work. But some fans in Europe and the Americas loved it, and it definitely gained them more fans in the diaspora.
Adekunle Gold transitioned slowly with About 30 and has continued with Afro Pop, Vol 1.
You can see the slow and steady change from Gold to Afro Pop, Vol 1 and not just in sound but also in style and brand.
If he releases a body of work filled with sounds similar to the ones in songs such as ‘AG baby, Call on me, Pretty girl,’ I wouldn’t be surprised, he’s been preparing us for it.
We can also see Burna Boy transitioning, Twice as Tall is clearly an album made to win awards, it’s no secret that he’s influenced by Angelique Kidjo, a four-time Grammy winner.
From the Grammy-winning producers, he chose to collaborate with (Diddy and Timbaland) right down to the features with Stormzy and Chris Martin, you know this album was curated with a prestigious award in mind. I’m interested to hear what his next body of work will sound like.
So is there a shift in the sounds coming out of Africa?
Absolutely.
Is it a bad thing?
Not necessarily, but I hope that as each artist transitions they make a conscious effort not to alienate their core fans.
Lastly, stay up to date with all you need to know about African music at SOA, right here.
IS THERE A SHIFT IN THE AFRICAN SOUND FOR WESTERN AUDIENCE?
