Popular Afrobeats star Afro B—known for hits such as Drogba (Joanna), Shape Nice (with Vybz Kartel and Dre Skull), Fine Wine & Hennessy (featuring Slim Jxmmi) and much more—has disagreed with Buju Banton’s criticisms of the genre.
Afro B, who is currently in Jamaica along with fellow UK artist Lahrel to shoot a music video for the unreleased track Sit Down, told DancehallMag that Banton erred when he stated that Afrobeats has failed to liberate Africans as has reggae music.
“I disagree with that because those songs are not as commercial as the ones that are fun. Even the fun ones, although they might not be giving those messages are still connecting the African Americans to the roots, and the Caribbeans to the roots,” he said in an interview.
He added, “So that’s a whole movement in itself that Marcus Garvey called the repatriation movement, where they connected people; well—people who are of African origin—back to their roots. And then we’re doing that via the music.”
In the same breath, Afro B challenged additional sentiments that by the Champion deejay that Afrobeats did not seek to connect with Jamaica, the roots of the music, but instead opted to forge connections elsewhere.
He cited that artists of the genre have continuously shown their respect for Jamaican acts and Dancehall.
“You know, there are so many of us that have collaborated and shown influences from Dancehall so that’s why I disagree the most of the narrative. I’ve collaborated with Busy Signal, Stefflon Don, Konshens, and that’s just me. Other artists have collaborated with so many (Jamaican artists); from Stonebwoy, to Burna Boy…I can go on. So, we show a lot of love, and we’ve come to the country to perform with you because, you know, you’ve influenced us,” he said.
Speaking of which, Afro B has tapped Stefflon Don, Busy Signal and Rygin King for his latest album titled Elephant In The Room. He is looking to release at the end of October. He says this project will mark a rebirth of sorts for him.
“Technically, it feels like a debut album because I’ve evolved as an artist, and during the pandemic, I had more time to just sit down and concentrate on recording, because before that I was making the transition from DJ to to making music. I was just making music on a go. I wasn’t actually sitting on anything. It was just like I recorded something and then just released it the next day or week. This is the first time I’ve sat down and really tried to muscle the crop and transition from being the DJ,” he said.
Afro B says he will continue to visit Jamaica and opt to collaborate with local artists because of his chemistry with them over the years.
“The people I collab with, there’s some form of relationship. It’s not a thing where it’s just random and then we come together. So even if, as artists, I haven’t even made music with, I can call them and say, ‘Yo, I’m in studio listening to something’ and if something happens, it happens.”
This trip has been memorable so far because of the ‘tropical video shoot’ in the beautiful, rural area of Portland.
This is Afro B’s first time visiting that parish. However, Lahrel—who is of Jamaican lineage—is enthusiastic about revisiting to make the visuals for the dancehall-infused track.
“This isn’t my first time doing Dancehall-related music and definitely not for Afro, as well, as he’s worked with many Jamaican artists already. So it wouldn’t be the first time. You know, we always try to create art, create something that we’ve done, but better, something a bit more different, so we don’t try to repeat ourselves,” she told DancehallMag.
Sit Down will be released on October 18, while the music video will follow soon after.
Speaking during his appearance on a recent episode of the popular US podcast Drink Champs, the singer, best known for tracks like ‘Destiny’, ‘Psalm 23’, ‘Hills and Valleys’ and ‘Untold Stories’, argued that despite its global success, the genre fails to address pressing socio-political issues or uplift the African people, stressing the need for music that has a meaningful impact.
“When you look at what they’re doing, their music is not freeing Africa,” Banton said. “It’s fx!kery… their music needs to free Africa. If I’m all the way in Jamaica and my country and my people fight to free your continent with word, sound and power, and you have the ability now and all you’re singing is fx!kery? You don’t sing a song to free Africa now… we desire more from them. You want the money? Go get it, but what’s going to be said about you later on? You didn’t make any impact.
“Tell me one Afrobeats song that can uplift us. Kenya is suffering. The young men of Kenya are revolting… Sudan, South Sudan, you name it. But which one of these songs can I relate to for peace of mind; to tell me that I’m in the struggle and we are going to be better in the struggle, and even though the struggle is hard, we’re going to overcome.”
Thanks to Afrobeats’ worldwide growth, Africa’s music industry is set to top $500 million by 2025 and has the potential to create 20 million entertainment sector jobs by 2030. With its global success, the genre, which covers contemporary African pop, has become a point of contention, notably in West Africa, where its roots are often linked.
Banton’s criticism seems to have revived a debate on Afrobeats’ lyrical depth, echoed by Nigerian artists like Burna Boy and Wizkid. In an interview with Apple Music last year, Burna Boy criticised a message deficit within the genre.
“That’s why you hear most Nigerian music, African music or Afrobeats, as you people call it, is mostly about nothing, absolutely nothing,” he said. “There is no substance to it, like nobody is talking about anything, it’s just a great time. But at the end of the day, life isn’t an amazing time.”
Earlier this year, Wizkid took to Instagram to dismiss the “Afrobeats artist” label, arguing that the tag limits artists. He emphasised being an “artist first” and touted his ability to explore different sounds.
Discussing the genre in a TMZ interview last November, Afrobeats icon Davido traced its origins to the UK, which was among the first to elevate it. He noted that the label is used broadly to classify African musicians, regardless of their actual music style. He pointed out that Nigerian rapper Odumodublvck, who performs hip hop drill, is often labelled as an Afrobeats artist just due to his African identity.
“Afrobeats is what is used to describe music made by an African artist, whether it’s trap, techno, or R&B,” he argued.
Meanwhile, on the podcast, Banton also addressed the relationship between Afrobeats and reggae, noting that while Afrobeats is an African genre, it bears influences from various musical traditions, including reggae. This influence, however, is not always acknowledged by Afrobeats artists, who may claim a distinct separation from Jamaican music. Banton argues that despite these claims, the fundamental connection between African and Jamaican music remains significant due to shared rhythms and cultural expressions.
“I’m sure a lot of Afrobeats artists will say to you, ‘Oh, Afrobeats has nothing to do with Jamaica’. And we’ll say to them, ‘Our music has everything to do with Africa. We don’t dichotomise. We don’t separate ourselves from Africa. No point, no time, no day, because the drum in our music is what speaks to our soul. I think the drum in your music speaks to your soul. But what are you saying? It’s easy for you to have anybody listen to you, but what do you have to say to them? There’s the hard part… our music cannot continue to be uninspiring.”
Elsewhere during his Drink Champs appearance, Banton acknowledged African music greats such as Fela Kuti, Lucky Dube, Salif Keïta, Youssou N’Dour and Baaba Maal. He also recounted a 1991 visit to Africa where he spent three weeks educating people about reggae music. Today, countries like Kenya and Zimbabwe are among Africa’s biggest reggae markets. According to Banton, despite the enthusiasm for reggae within the continent, there was a noticeable lack of engagement with Jamaican roots.
“I was happy when they [Africans] came to their senses to realise that music is the bridge that’s going to connect us, but what I was disappointed in [was that] they didn’t try to connect with Jamaican roots, they connected with everyone else except us.”