Afrobeats is no longer just a sound; it is a global movement. From Grammy stages to World Cup performances, the genre has cemented its presence in every corner of global music culture. But with this rising prominence comes a pressing need — the need for structure, skilled professionals, and institutional development to match the music’s meteoric rise.
The Afrobeats industry relies on a robust ecosystem beyond its superstars, including managers, producers, marketers, and more. Historically, African creatives have navigated informal structures, but MBA for Africa aims to change this by providing hands-on training in music business strategy, empowering a new generation to take control of the industry’s value chain and sustain careers.
READ ALSO: Afrobeats Weekly: Global Moves, Wins and New Music Highlights
Tems, already a household name and Grammy winner, made history as the first African artist to perform at the FIFA Club World Cup. Sharing the stage with Doja Cat and J Balvin, and featuring surprise appearances from Coldplay and Emmanuel Kelly, Tems performed her hit “Love Me Jeje” to an audience that spanned football and music fandoms alike. Her performance places her in a distinguished lineage of FIFA performers like Shakira and Jennifer Lopez, underscoring Afrobeats’ global resonance and Tems’ star power.
Another icon celebrated this week was Wizkid, who turned 35. Fans flooded social media with tributes using hashtags like #WizkidAt35 and #StarBoy35, spotlighting his legacy as one of the architects of modern Afrobeats.
With over 65 million units sold, more than 20 billion Spotify streams, and career-defining hits like “One Dance” with Drake, Wizkid is not just a trailblazer — he is the most-streamed African artist of all time. His collaborations with Beyoncé, Justin Bieber, and Chris Brown have made him a fixture in global pop music. His 2024 album “Morayo” achieved unprecedented chart success, reaffirming his relevance and reach. Wizkid’s rise mirrors the journey of Afrobeats itself — from Lagos streets to the main stage of the world.
Cross-Atlantic Gold: Davido x Chris Brown
The synergy between Afrobeats and global pop was on full display as Davido and Chris Brown’s 2019 hit “Blow My Mind” was certified Gold in the United States by the RIAA. With over 500,000 units sold — and additional certifications in Canada, New Zealand, and multi-Platinum status in South Africa — the song is a testament to the enduring power of cross-cultural collaboration.
Davido’s work, much like Wizkid’s, continues to build bridges between African creativity and global markets. “Blow My Mind” is not just a song — it’s a blueprint for how Afrobeats can thrive on global playlists without losing its identity.
New Music Friday
Amid the celebrations and milestones, the heart of Afrobeats remains its music. This week’s releases showcase the genre’s sonic diversity — from street anthems to international crossovers:
• Adekunle Gold – Coco Money
• Shallipopi & Rauw Alejandro – Laho III
• Lojay – Tenner
• Spinall & Young Jonn – Kerosene
• Victony & Fridayy – Glory II
• YKB – YII
• Fave – Intentions
• Kunmie, Simi & Mabel – Arike (Remix)
• Ashidapo & Olamide – Girl On Fya
• Mr Eazi – Corny
This lineup is a testament to how far the genre has come — multi-genre, multilingual, multi-regional, and yet distinctly rooted in African identity.
Afrobeats is no longer on the brink — it is here, shaping tastes, influencing fashion, fueling content, and opening doors for a generation of African creatives. But its continued relevance will depend on more than chart-topping singles and sold-out concerts.
It will depend on the structures behind the sound:
• Robust creative education
• Skilled music executives
• Artist-friendly contracts
• Strategic marketing and distribution networks
• Inclusive talent pipelines across genders, regions, and disciplines
