Afrobeats: A Genre or a Collective?

One of the most contentious topics in African music today is about Afrobeats where the question has been posed, Is Afrobeats a distinct musical genre, or is it better understood as a collective of African sounds?

 Many agree that Afrobeats has always been defined by its fusion of various African musical styles, most notably Highlife, with modern elements like synthesizers, drum machines, and 808s. Highlife, a genre deeply rooted in West African culture, plays a foundational role in shaping the Afrobeats sound. However, it has been noted that Highlife itself draws on traditional African rhythms and instruments. The fusion of these traditional elements with contemporary global influences, such as R&B,Hip-Hop, and Electronic music, has given Afrobeats a unique identity.

Yet, this very fusion raises questions about whether Afrobeats can be neatly categorized as a genre in the same way that Rock, Jazz, or Reggae can. Some have  argued that while Afrobeats has a recognizable sound, its broad spectrum of influences makes it difficult to pin down. This is especially true when considering how different artistes approach the music, mixing in elements from genres like Fuji, Amapiano, Dancehall, and even Gospel. As a result, some felt that Afrobeats functions more as an umbrella term, encompassing various African musical traditions and contemporary sounds rather than being a genre with a strict set of musical rules.

From this perspective, Afrobeats is not defined by a single rhythm or structure but by its openness to blending and evolving. This makes it a cultural movement, reflecting Africa’s modern identity and its ability to adapt and incorporate global trends without losing its essence. The sound itself becomes a representation of African innovation in the digital age, creating a platform for artistes to experiment and blend their influences without being confined by the expectations of a traditional genre.

Others insist that for Afrobeats to gain further recognition and legitimacy on the global stage, it needs to be understood and treated as a genre. It is believed that without a clear definition, it becomes difficult for artistes, scholars, and industry professionals to discuss the music in a structured way, and Afrobeats risks losing its identity through over-expansion. A genre is defined not only by its musical characteristics but also by its cultural impact, shared history, and the communities that form around it. In this sense, Afrobeats has already laid the groundwork to be seen as a genre, with its own pioneers, signature sounds, and cultural significance.

However, this tension between those who view Afrobeats as a genre and those who see it as a broader movement highlights the challenges faced in the world of African music scholarship. The debate raises fundamental questions about how music is categorized and who has the authority to define it. As Afrobeats continues to evolve and influence music worldwide, these questions may remain unresolved, but one thing is clear: Afrobeats has established itself as a powerful force in global music, whether it’s seen as a genre or a collective.

Ultimately, Afrobeats is both rooted in tradition and constantly evolving. Its power lies in its ability to bridge the old and the new, the local and the global. Whether defined as a genre or a collective, it represents the future of African music on the world stage, with endless possibilities for growth and redefinition.