During my afternoon of shopping therapy, I walked the aisles of H&M, sorting through clothes and fulfilling my shopping fantasies. While I was in a trance, a familiar yet strangely foreign melody began to come from the speakers and brush my ears. “Baby, calm down, calm down”—I immediately recognized Rema’s “Calm Down” and its melody.No, it wasn't do not have The remix with Selena Gomez is a divine masterpiece with a truly lyrical flair. As I listened to the eclectic vibe of this song and moved to its beat, I felt a sense of emotion inside me, in awe of how Afrobeats has grown, but also anxious at how fast it's happening. came out.
Looking back, this wasn't the first time I heard this genre in a space I didn't initially expect. The rhythmic blues, upbeat, melodic tunes I know and love are playing in airport bathrooms, Target aisles, and even movie theater lobbies.
Afrobeats, the heartbeat of my homeland of Ghana, carries a fusion of African percussion, dance and electronic music elements, highlife, hiplife, hip-hop, and R&B that has followed me to my new home here in America.
I vividly remember the first time I actively listened to Afrobeats. I was 9 years old at the time, and I had briefly gotten hold of her chunky 2012 Dell laptop that belonged to her mother. Ghanaian radio stations were saturated with emerging genres, especially one of his hit songs, D'Banj's “Oliver Twist.” Lying on my parents' upholstered mattress, frantically typing out the few lyrics I remember: “Oliva, Oliva, Oliva his twist,” haunted by the fact that I can't actually hear the lyrics without Shazam. I remember.
In retrospect, there was no reason for this prepubescent boy to play such a song. The vulgarity of this song was enough to shock her mother to her core. The meaning of the lyrics was mostly written in pidgin, so I could barely understand it at the time, but that didn't matter to me at all. The song's mesmerizing synth beat, seductive hook, and echoing background were enough to bring me to my feet. scatter (Although it's just my imagination) dance floor.
After listening to a performance of “Oliver Twist” recently,” By the time the seventh season of Nigerian Idol — a truly amazing cast — began, I was drawn back to hearing this song for the first time in my parents' bedroom. This is the beauty of this genre. Every time I listen to it, I'm transported back to the feeling I had when I first heard it and fell in love.
Since then, the more I listen to Afrobeats, the more I love and am proud of this genre. While African artists were initially featured on other mainstream artists, a prime example being Drake's “One Dance” featuring Wizkid, the switch has now become very pervasive. The world's biggest stars are now captivated by the genre and looking to add their own flair to the burgeoning African sound: Kali Uchis, Amarae's “Sad Girlz Luv Money,” Camila Cabello's “Sad.” Girlz Luv Money” (Suspicious). Oxlade's “Ku Lo Sa” remix, Fireboy DML's “Peru” featuring Ed Sheeran, and Drake's Own Wizkid’s “Come Closer” features — the list goes on.
And let's not forget Justin Bieber's controversial feature on Wizkid and Thames' 'Essence'. Whether one claims that it was this feature that caused this single to soar on the charts, or that he claims that the two artists did it aptly on their own, this song has made the genre popular all over the world. It was featured on many billboards and playlists.
But the more I get into Afrobeats, the more I worry about it getting worldwide attention.
Every time I hear a song in this genre, for example Encounter at H&M, I feel conflicted. For me, as well as many other early Afrobeats listeners, when these mainstream artists feature on Afrobeats singles, something unique to the genre is lost. It's the same feeling you get when you see an artist rise from underground status to fame. Suddenly, they have to cater to the wants and needs of such a large audience by slightly tainting the sound and feel. Therefore, while Afrobeats maintains its dynamism by adapting to the times, collaborations, remixes, or covers of Afrobeats songs, especially by large mainstream (Western) artists, are limited by their monopoly. Sexuality decreases, flavor It was once a niche and cherished genre.
TikTok users have also commented that Afrobeats has started adopting a more mellow sound to appeal to a wider audience, losing the “Afro” prefix in the process. They claim that the genre's early, pioneering sounds that got you moving and dancing (think Skales' “Shake Body” and Yemi Alade's “Johnny”) have been removed in favor of a more palatable sound. doing. This is something I completely agree with and see every day.
Now, don't get me wrong, the recognition and appreciation that Afrobeats is receiving is well deserved. Artists have put in a lot of effort to develop their own unique sounds, and their efforts should be celebrated. Personally, I love that Africa and the African diaspora around the world have found a language of love in the shimmering rhythms of Afrobeats, a language that we can all connect and resonate with. She also agrees that as Africans, we should be able to take our place and further instill our music and culture. Afrobeats to the worldOf course it should be.
And yet, speaking as a long-time listener, it seems like this Afrobeats baby you watched and grew up with has now surpassed you.What was once just a little gem we I knew that's all we Nowadays, it is a common product all over the world. It's no longer just “for us and by us,” or at least it looks that way.
So forgive me if I'm feeling a little possessive about this genre. It was Tems' “Higher” that brought me out of a dark place, P-Square and Starboy Wiz that lit up my childhood parties, and my connection to my Ghanaian identity. It was Fuse ODG's “Azonto” that reinvigorated my pride. The urge to gatekeeper stems from a deeply rooted and truly intimate relationship with the genre. It has been with me through my highs and lows.
But as heartbreaking as it is, like all things one loves, perhaps it is teeth It's time to let this baby go and let it grow. Perhaps it's time for Afrobeats to take center stage, just as R&B did in the '90s and hip-hop and rap did in his early '20s. Perhaps it's time to explore other genres and find your niche with Tanzanian bongo flava, Nigerian arte, and South African kwaito and gkomu. Every genre is waiting to be seen and heard.
But to my first love, Afrobeat, I'm so proud of how far you've come and where you're going. I can’t wait to see what you do next!
My only wish is that you remember me then.
MiC columnist Ayeyi Asamoah-Manu can be reached at ayeyiyp@umich.edu.
