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AFROBEATS GENRE AND ITS ROLE IN REBRANDING NIGERIAN NATION 

 

Tekena Jack 

Department of Music 

University of Port Harcourt 

E-mail: tekcon90@gmail.com 

& 

Rita Adaobi Sunday-Kanu, PhD 

Department of Music 

University of Port Harcourt 

E-mail: rita.sunday-kanu@uniport.edu.ng 

 

Abstract 

Global popularity of Afrobeats and its inextricable link to Nigerian roots has recently brought Nigerian nation into a 

new limelight of discourse. Afroabeats is a genre of music that deals with fusion of African traditional music, jazz, 

funk and rock music.  It is the most accepted African musical culture in the global music scene and it is very popular 

in Nigeria. Afrobeats has begun to revive a sense of nationalism and Pan-Africanism within Nigeria and African 

continent. This trend has redefined Nigerians both at home and in the diaspora. Afrobeats musicians have succeeded 

in re-presenting Nigeria to the world in the past three decades. This study explores Nigerian Afrobeats musical genre 

and its role in rebranding Nigeria’s national image. Focus is on the ‘ambassadors’ of Afrobeats who are non-state 

actors in the constructivist framework of international relations yet, they have achieved considerable success in 

promoting Nigeria’s national image where state actors have failed to achieve success. Method used for data 

collection includes observation, media reports, internet sources, interview and review of related archival literature. 

Findings from the study indicate that through Afrobeats, Nigeria has regained her alliances, treaties and partnership 

with other nations of the world. Afrobeat musicians have made remarkable shift in boosting national image, 

perception and self esteem of Nigerians around the globe. 

 

Introduction 

Nigeria as a nation has been humiliated in diverse ways due to the corrupt attributes of her political leaders. In 

diverse media clips from around the world, Nigeria has been popularized by the single story of her corrupt 

politicians and their manipulative political tools such as, tribalism, religious fanaticism, terrorism and banditry. One 

of such derogatory representation of Nigerian image was seen in one of the viral video clip in 2016 where the former 

British Prime Minister, David Cameron addressed Nigeria as a “fantastically corrupt" nation in his report to her 

majesty, Queen Elizabeth II; former queen of the United Kingdom (BBC, 2016). Such an unguarded assertion from 

highly respected individual like British statesman resonated widespread of negative perception of Nigeria and 

Nigerians in the international community. (Adeniyi, 2012).  Again, the activities of Boko Haram (a militant group) 

in the Northeastern Nigeria have led to humanitarian crises following their brutal attacks, kidnapping and bombings 

of innocent citizens. Different media reports in Nigeria and beyond have highlighted the dreadful impact of Boko 

Haram activities in communities within Northern Nigeria. Hence, some other militant groups have gradually sprung 

up in different states of the country which portrays negative side of the nation in media reports. Ewokor & Abubakar 

(2025, January 24)  that ‘Nigeria’s authorities have officially declared the Lakurawa armed group- which flogs 

people for listening to music- aterrorist organization and banned it across the nation. 

  

The Nigerian political class in all their policies has not in any way, been able to contribute significant measures to 

salvage the image of nation. Rather, their persistent corrupt practices which impoverish Nigerian citizens have 

turned Nigerians to perpetual migrants to the other parts of the world for survival. Yet, even in the diaspora, Nigeria 

as a nation has become a stigma to her citizen. Following the Corruption Perception Index rating as recorded by 

Transparency International form 2016 to 2022, Nigeria has remained among the worst ranked in terms of transparent 

leadership as shown in the table below.   

 

 

 

 

 

 



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Year Score  

(lower score = worse 

performance) 

Global rank/176 countries 

(Larger number = worse 

ranking) 

2016 28 136 

2017 27 148 

2018 27 144 

2019 26 146 

2020 25 149 

2021 24 154 

2022 24 150 

 

Nigeria’s Corruption Perception Index (CPI) 2016 to 2022. (Transparency International, 2023) 

It is obvious that over three decades, Nigeria's national image has been tainted by widespread of corruption, 

insecurity, terrorism and fraud, following the activities and policies of political leaders. Owuamanam & Agbaenyi 

(2021) note that this negative perception of Nigeria's national image is an indication that Nigeria ‘lacks respect, 

influence and prestige among the comity of nations’ (102). They believe that national image presentation is within 

the ambit of political and diplomatic actions and processes. It is ironic, however, that despite several direct political 

and diplomatic actions and policies undertaken by Nigerian governmental agencies such as the War Against 

Indiscipline and MAMSER (Mass Mobilization for Self Reliance, Zero Justice, and Economic Recovery) yet, no 

significant success has been observed in all attempts to rebranding Nigerian image through policy makers and their 

politicians. (Ojo &Aghedo, 2013). However, the rebranding has suddenly started creeping in through civil attributes 

of many Nigerian elites at home and in the diaspora who have portrayed themselves and Nigeria in a different light. 

This is observable in various professional fields of endeavors and careers. Such include, medical records, economic 

gurus, academic endeavours, engineering skill, creative arts and cultural projections in which Nigerian music artistes 

particularly, Afrobeats singers have made great impact in presenting Nigeria to the world. 

 

Emergence of Afrobeats: a multicultural musical projection 

Afrobeats genre was developed in the 1960s and 1970s, sprouting from the combination of western pop musical 

elements and West African musical styles like folk, highlife and juju music. The term “Afrobeats" was coined 

following a radio show in London known as ‘Afrobeats with Abrantee’. Abarantee was a popular London disc 

jockey (DJ).  D.J Abrantee used the term Afrobeats as an umbrella name for the various genres of West African 

music styles that played on the radio show (Bantunauts, 2023). Afrobeats is a multicultural musical phenomenon 

that comprises of Ghanaian musical sounds like hiplife and banku, Nigerian sounds such as highlife and juju music, 

various musical elements from traditional West African music and African American musical genres like funk, jazz, 

R&B, hip hop, among others. The Afrobeats style of music is of unique quality with distinctive polyrhythmic nature 

(Okafor, 2019). Bantunauts (2023) submits that Afrobeats is an amalgam of the popular music originating out of 

Nigerian and Ghanaian sounds since the mid-2000.  

 

In recent time, all these genres; banku, highlife, hiplife, afro juju, afro pop, afro hip-hop, afro fusion, have been 

subsumed under the umbrella name ‘ Afrobeats’.  It has become obvious that the term Afrobeats represents the 

perception of popular West African music, particularly, Nigerian musical style. Afrobeat has become a convenient 

term preferred by the West to describe the stream of West African music styles that has attracted global audience 

(Osiebe, 2022). Indeed, one can argue that the recent global reception of Afrobeats is due to its regular performances 

at the world-class entertainment venues like O2 Arena, and the participation of Afrobeats artistes in the global music 

awards like, Grammy award, the Billboard music awards. Goffman (2010) notes that, ‘each blends African and 

European musical ideas, always with a strong rhythmic element.  They are at first looked down upon as strange, 

ugly, not really music. Yet repeatedly, they break through the boundaries in which they originated, moving into 

mainstream America and, ultimately, dispersing around the globe’ (p. 1). 

 

Afrobeat and Afrobeats: the Difference of ‘s’ 

The term ‘Afrobeats’ appear similarly to ‘Afrobeat’ but they are not exactly the same in the context of this study. 

The differentiation by ‘s’ makes all the difference in the two genres of music even though, they are both of West 



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African musical style. The relationship between both genres of music is one that is subject to numerous debates. 

Various studies have analysed several points of convergence and departure between Afrobeat and Afrobeats. While 

some believe that Afrobeats evolved from Afrobeat, they both centre on different themes and motives in the 

Nigerian context. Historically, Afrobeat existed first as an antagonistic drive against Nigerian political class. Its texts 

were primarily aimed at unveiling the corrupt practices of the government and attack on all perceived bad policies 

that unleash hardship on the Nigerian citizens. Afroabeat sensitizes the people on the actions and inactions of the 

ruling class while calling for resistance. It is political motivated music but, only a few musicians could stand 

government pressures to stop them. According to Dosunmu (2010), Afrobeat exists in line with Kuti's tenacious 

belief that music is a weapon. Olorunyomi (2013) notes that Afrobeat is a cultural and political musical practice, “an 

aesthetics of cultural politics". This is amply demonstrated in the highly satirical, dissident and dry humoured lyrics 

of the genre, the performance of which served as caustic socio-political commentaries censuring the political climate 

of the day (Rens, 2021).  

 

Following the historic account of Afrobeat origin, Fela Kuti has become unavoidable name in the discourse of 

Afrobeat music style in Nigeria. Being a fervid political activist, Fela Kuti was born by one of the most notable 

female political activists in the history of Nigeria. Fela Kuti poured his political vision into his music, his grip on the 

genre ultimately influenced its stylistic and ideological direction (Dosunmu, 2010). On the other hand, Afrobeats 

was believed to be one of the genres that sprang out from Afrobeat style but, with its compositions actively avoids 

political themes and advocacy. Afrobeats rhythm and textual contents are such that evoke positive feelings on the 

citizens. It is built around self worth, self happiness, sexuality and romance, irrespective of political state of the 

nation. Afrobeats focuses on light-hearted entertainment and “party vibes” rather providing its listeners a form of 

reprieve from the chaotic socio-political and strenuous economic state of the country (Onafowokan, 2020). This 

genre deposits the feeling of looking beyond Nigeria as a nation but, seeing oneself as a global citizen.  Finney 

(2018) posits a parent-child relationship between both genres, while Olorunyomi (2013) perceives Afrobeats as a 

stylistic evolution of Afrobeat. He believes that while Afroabeat derives its inspiration from the socio-political 

occurrences, Afroabeats on the other hand is motivated by socio-cultural phenomenon. Afrobeat explicitly reveals 

the socio-political ills, and incites its listeners to respond to the national political dilemma. However, Afrobeats 

rather serves its listeners as an entertainment to distract their minds from the state of the nation; it provides an 

escape route from obsessions over the harsh economic and frantic socio-political landscape of the country. Several 

critics have noted how this antithetical relationship is a discredit to Afrobeats. Olaleye & Osuagwu (2020) question 

the moral and political relevance of Afrobeats due to the often banal lyrical content of the music genre. However, 

Afrobeats artistes have distanced their music from raging political issues, which can make them become enemies 

with the government and motivating sober or sad reflections in their music. 

 

History had it that Afrobeat is a genre of music pioneered by Fela Anikulapo-Kuti in the late 60s. It is a blend of 

highlife, funk and jazz (all three of which Fela had experimented in his music career) with traditional African music 

forms, fostering a novel sound that eventually gained international prominence (Rens, 2021). With Femi Kuti, Fela's 

son, Afrobeat earned global recognition, Femi having earned six Grammy nominations and numerous international 

awards (Osha, 2021). Afrobeat pioneers such as Femi Kuti and renowned Afrobeat drummer, Tony Allen, have 

maintain their distinct natures and style of music (Kariisa, 2018). Due to its sources of inspiration, Afrobeat usually 

features complex live instrumentation, often played on bass guitar, drums, African percussions and electric piano. 

This demonstrates a structural dissimilarity from the contemporary Afrobeats which produces its instrumentation 

electronically. Afrobeats features more simplistic instrumentation that is inspired by electronic dance music (EDM).  

The essential ideology of Afrobeat necessitates its distancing from the contemporary Afrobeats. The ideological 

layout of Afrobeat positions it in polarity with Afrobeats, which has been described as politically vacuous (Osha, 

2021; Rens, 2021). Afrobeats videos are known for prominent featuring of nudity, parties and extravagant 

materialism. Afrobeats video and performance styles are closely parallel with the American hip hop genre more than 

it does with Afrobeat. Hence, American popular hip hop stars have been inclined to collaborative performances with 

Afrobeats stars particularly, Nigerian artistes. This has partially contributed to the growing global appeal of 

Afrobeats. 

 

Nevertheless, despite the obvious ideological and structural differences between Afrobeat and Afrobeats, one can 

find that the spirit of the former transmits into the latter.  Both are characterised with propelling dance on their 

audience. According to Nzewi (2007), dance to Africans “is a composite cultural statement.  The centrality of dance 

to African artistry and communal experience being recognised in the foregoing, it is fitting that Fela Kuti's search 

for a uniquely African sound birthed the danceable Afrobeat. Regardless of the sobriety and occasional sombreness 



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of Fela Kuti's political vision conveyed in his music, Afrobeat is essentially built for dance. While this might have 

seemed incompatible with music suited for political protest one finds that the spirit of dance woven into Afrobeat 

accentuates rather than diminishes Fela Kuti's artistic cum political vision (Olorunyomi, 2013). The danceable 

aspect of Afroabeat kept its relevance among the youthful audience. In the same manner, dance is central to the 

Afrobeats experience. Dance in Afrobeats conveys a sense of fun and optimism, regardless of the text hence, both 

musical genres move their listeners to dance . 

 

Afrobeats and Nigerian Nationalism 

Huddy, Ponte & Davies (2021) believe that nationalism has often been seen as a negative form of patriotism. This 

thought may be due to fact that nationalism focuses more on a positive feeling to one’s own group but negative 

feeling to other groups. Druckman (1994) observes that a spirit of nationalism causes people to be sentimentally 

attached to their homeland, which motivates them “to help their country (goal oriented), and gain a sense of identity 

and self-esteem through their national identification” (p. 44).  In the same line of thought, Ahlerup & Hansson 

(2011) notes that the upsurge of nationalist spirit within citizens often results in positive change for any nation.  

In the Nigerian case, being a multicultural nation with over two hundred and fifty ethnic and language groups, it was 

difficult for Nigeria to construct a single or unified cultural identity over the years. Despite government initiative on 

the adoption of Cultural Policy for Nigeria from UNESCO in 1988, culture and believe disparity have continued to 

reflect in many inter-ethnic disputes which have engulfed the nation since the amalgamation of these different ethnic 

cultures as one country in 1914. Over hundred years of co-existence, tribalism / ethnicism and its accompanying 

corrupt practices have remained as cancer in the political system of Nigeria. Hence, many Nigerian citizens have lost 

faith in the central government. Tribalism and ethnicism became the focus since many citizen’s have now more faith 

in their ethnic cultures than national reputation. Ethnic sentiment is not peculiar to Nigeria, it is an observable 

phenomenon in several African countries especially, those nations that had to deal with Western imperialism and 

colonialism (Usman, 2014).  

 

In all of these, music has taken the central role in creating a unifying peak for many ethnic cultures in Nigeria. 

Music in its nature has remained a culture carrier and signifier. Indigenous music has functioned as a viable tool for 

building, projecting and sustaining cultural identity. The contemporary Afrobeats has systematically harnessed its 

musical elements from major ethnic cultures in Nigeria and had grown to be more accepted by many Nigerian 

youths, both those at home and in the diaspora, irrespective of ethnic origin.  Many Nigerians and other Africans 

national have paid much attention to Afrobeats as a unifying musical culture. This can be argued to be due to 

Afrobeats focusing more on entertaining its audience rather than thriving on ethnic sentiments. Consequently, 

Afrobeats gained more popularity in Nigeria and beyond than any other musical genre in West Africa. With the 

movement of Afrobeats beyond the shores of West Africa to the global stages, it has also gained more international 

recognitions and awards than every other musical genre in Nigeria. Afrobeats, has in the past three decades becomes 

the pride of many Nigerians; as a means for gaining self dignity and importance. Zeleza (2010) notes that music has 

been the primary means by which Africans in the diaspora have continuously circulate their cultural influences and 

identities. To those in the diaspora, it is not only a means of connecting with their African roots but also, a boost to 

their sense of pride and identity. Onafowokan (2020) observes that the sense of pride is linked to mainstream 

proliferation of Afrobeats, which presents African culture and consciousness as worthy of global recognition. Many 

Nigerians find pride in associating themselves with Afrobeats stars who they recognize as global stars, and their 

music genre as global music. 

 

The global reception and recognition of Afrobeat are very vital to Nigerians as it has gone a long way in discourage 

the single story of corruption associated to Nigerian. There is no doubt that, Afrobeats stars have made significant 

contribution in construction of a unifying identity for Nigerian people as well as rebranding Nigerian global 

perception. The internationalization of Nigeria’s image on a brighter and more acceptable light is evidenced in the 

roles and place of Nigerian Afrobeats stars in the global music scene.  

  

In recent time, the most streamed music online ‘One Dance’ , is an Afrobeats performance by Nigerian global 

superstars; Drake and Wizkid. ‘Love Nwantiti’ is another well streamed Afrobeats love song by Nigerian Afrobeat 

star; CKay. Consecutive Grammy nominations for Burna Boy between 2020 and 2022, and his solo performance at 

the UEFA Champions League Final have solidified the Afrobeats star’s position as legitimate global music icons 

(Osiebe, 2022). Alongside Wizkid and Burna Boy, Davido joins the exclusive list of international music artistes who 

have managed to sell out the O2 Arena in London. These and numerous other achievements of Afrobeats and 

Afrobeats stars (who are mostly Nigerian) have redefined the worth of Nigerianness’ and ‘Africanness’. 



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The flamboyant showcase of Afrobeats lifestyle as seen in the music videos negates the global perception of Africa 

as poor and underprivileged nation. Onafowokan (2020) observes that this display of wealth presents Africans (and 

by extension, Nigerians) as powerful individuals, an image not typically associated with Africa in the media. She 

also notes the promotion of African symbols within Afrobeats music videos;  Burna Boy’s Ankara trousers in his hit 

single, ‘Ye’ and the dancers in Wizkid’s ‘Come Closer’ spotting Yoruba tribal marks. The use of African articles, 

symbols and display of African artifacts in Afrobeats music videos and performance have become common thereby, 

gradually changing the perception of Nigerian culture beyond ruin nation as often presented in media programmes 

around the globe. As a result, Nigerians, both at home and in the diaspora have found a common ground wherein 

they can stand proudly and be called Nigerians. 

 

Afrobeats role as a diplomatic resource  

Since 18th century, music has served as a diplomatic resource although, not much attention was paid to its roles as a 

tool for diplomacy. After the Cold War of 1947 -1991, as international politics gradually and steadily moved away 

from explicit use of power or military force, most world leaders started drifting to diplomatic relations with other 

nations of the world.  Since it was obvious that the prevalent theories of realism and idealism seems inadequate for 

the then political climate and international relations, the formulation of the constructivist theory applied (Ramel & 

Prevost-Thomas, 2018, Yilmaz, 2008).  According to McGlinchey, Walters & Scheinpflug (2017), constructivism 

perceives human experience, knowledge and systems as being socially constructed. It presents that the complexity of 

international relations makes it impossible to ignore human consciousness, values and beliefs. At such, the 

international system mostly thrives on common understanding among people (Einbinder, 2013). Hence, 

constructivism attributes diplomatic influence to both state and non-state actors and swiftly led to the 

conceptualisation of music diplomacy. 

 

As policy makers came to terms with the powerful cultural influence of music and recognising that the cordiality of 

international relations is largely contingent upon cultural similarities, governments across the globe began to draw 

upon the influence of music to promote their cultural ideals and national image (McGlinchey, Walters 

&Scheinpflug, 2017). This was particularly useful to the United States (US), which through the proliferation of their 

popular music, familiarised the international community with American culture. This provided the US with a lot of 

soft power and paved the way for American political dominance over the last three decades (Stelowska, 2015). 

Nzewi (2007) observes that in Africa, music has always been a primary agent of inter-communal diplomacy. He 

notes that, African musical arts are rationalized not in themselves as abstract mathematical configurations, but as 

effective energies – proactive forces that accomplish crucial missions in human life and social systems. Through this 

knowledge, Nigerian music, even at its incipient stage had comprehended the influence of music diplomacy. This 

was first experimented with the popularization of Highlife and Juju musical genres within African continent in the 

1960s and early 70s. To a large extent, the shared values propagated by these genres decreases the level of 

ethnocentric divisions among African nations especially, in West African region. Nevertheless, music diplomacy 

can only flourish when political actions and inactions of prevailing governments gear towards achieving better 

global human relation.  

  

In the case of Nigeria, Afrobeat was well received by Nigerian citizens irrespective of ethnic regions. Its goal to 

open up the Nigeria’s political mess attracted international attention to Nigeria’s military dictatorships of the 1980s 

and 90s which were grossly frown at by international community. Hence, efforts to embrace democracy were 

pursued by Nigerian government and political elites to enable acceptance and friendly relationship with other 

nations of the world. Music and musicians have significantly driven Nigerian’s cultural and diplomatic relations 

with outside world than all government’s policies and initiatives.  Presently, Afrobeats genre has accomplished 

much-admired feat in the world’s music and entertainment scene. Tiwa Savage's performance at King Charles's 

coronation ceremony was an example of cultural relationship that has started to grow between Nigeria and other 

nations of the world.  In addition are, David Adeleke (AKA Davido) featuring in the 2022 World Cup opening 

ceremony,  Burna Boy's solo performance at the UEFA Champions League closing ceremony performance in 2023.  

Just in the year 2024, Davido has been paid millions of dollars to future in the United Masters Grammy weekend 

concert which was part of the festivals for the Academy Grammy Awards held in February 2, 2024. These and many 

others are some of the numerous instances indicating the global prominence that Afrobeats has attained in less than 

three decades. Nigerian Afrobeats stars have performed in virtually all major concert stages around the world.  In the 

same vein, Afrobeats genre has attracted much collaboration in music business from around the world than any other 

musical genre in Nigeria. Several entertainment multinational companies such as Sony Music, Spotify and 



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Audiomack have set up regional operation offices in Nigeria, while numerous Nigerian Afrobeats artistes such as 

Wizkid, Davido, Tiwa Savage and Ckay have been signed by some of these international record labels. 

 

Conclusion 

The popularity of Afrobeats has assumed a more dynamic perception for Nigeria. It salvaged the country from the 

single story of corrupt people / government. While the political dilemma of the country remains an international 

notion, the diplomatic roles of the Afrobeats musical genre has significantly re-presents Nigeria's national image in a 

new and more positive light.  Afrobeats musical activities have not only helped in reshaping the impression about 

Nigeria nation, it has also affected Nigerian economic growth positively as foreign investors are flooding the 

country and are establishing foreign record labels, digital music streaming companies and other entertainment-based 

companies. This demonstrates the astounding diplomatic capability of Afrobeats especially in presenting Nigeria in 

a new light to the world. While it is observable that diplomacy can only be truly successful when the will of political 

actions are geared towards the same purpose yet, music has shown to drive and spread the peoples’ resolve more 

speedily and effectively than most political policies and plans.  Afrobeats have in just few decades rebranded 

Nigeria's international reputation against the corrupt political repute of her government.  In the hands of Afrobeats 

artistes, music has become a powerful diplomatic instrument, serving both to entertain the global audience and 

reshaping the Nigerian culture perception and consciousness in the globe. While it might not be absolutely correct to 

state that the Nigeria’s national image has been totally reformed, it is indisputable to argue that a new Nigeria 

version has not been introduced to the world and has progressively continued to reshape the perception of Nigerians 

as a people.  

 

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ttps://www.huffpost.com/entry/an-conversation-with-the-queen-of-afrobeats-tiwa-s
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ttps://blogs.lse.ac.uk/africaatlse/2022/04/06/nigeria-to-the-world-afrobeats-having-a-global-moment-d
ttps://blogs.lse.ac.uk/africaatlse/2022/04/06/nigeria-to-the-world-afrobeats-having-a-global-moment-d
https://agbowo.org/2021/04/19/the-future-of-afrobeats-

