The air crackles with a new frequency, a vibrant pulse emanating from the heart of Africa, rippling across continents and reshaping the global soundscape. It’s an undeniable phenomenon—this explosion of African music onto the international stage—a crescendo of beats and melodies that refuse to be confined by geographical lines or cultural borders. From the infectious bounce of Afrobeats—its streams on Spotify soaring by 550% between 2017 and 2023—to the pulsating log drums of Amapiano, the world is listening, dancing, and undeniably enthralled.

Yet, beneath the dazzling lights of sold-out arenas and the celebratory headlines, a quieter, more profound conversation is ongoing: are we truly celebrating African music on its own terms, or are we still inadvertently measuring its boundless spirit by the outdated metric of a world that once ignored it?

Consider the seismic shift: for decades, African sounds were often relegated to the niche “world music” section—a well-meaning but ultimately limiting classification that flattened the continent’s dizzying musical diversity into a singular, exotic curiosity. But then came the digital revolution, an unforeseen democratiser. Suddenly, a track born in a Lagos studio could travel the world in seconds; a viral dance hit originating in a Somali or Kenyan township, like Nimco Happy’s “Isii Nafta”, could sweep across TikTok, bypassing traditional gatekeepers and record labels.

This rapid ascendancy isn’t confined to the more established West African powerhouses. East African music, too, is carving its own distinct path

Artists like Burna Boy, with his “African Giant” ethos, didn’t just cross over, they planted their flag firmly in the global mainstream, collaborating with industry titans, headlining major festivals, and winning awards that once seemed reserved for a different hemisphere. Wizkid’s “Essence” became a summer anthem worldwide, a testament to the universal appeal of Afrobeats’ unique blend of Pidgin English, soulful vocals and irresistible rhythms. Amapiano—with its soulful piano melodies, deep house influences and kwaito roots—followed a similar trajectory, propelled by artists like Master KG and Kabza De Small, whose sounds resonated far beyond South Africa’s borders, fostering a global dance craze.

This rapid ascendancy isn’t confined to the more established West African powerhouses. East African music, too, is carving its own distinct path, often with a raw authenticity and innovative spirit that bypasses the overt machinery of commercialisation. Bongo Flava from Tanzania, with artists like Diamond Platnumz leading the charge, has fused local styles with R&B and hip-hop, creating a regional superpower with a growing international diaspora following.

In Kenya, Gengetone’s raw, often provocative energy and distinctive Sheng’ (youth slang) lyrics have captured a generation, while the diverse sounds emerging from Ethiopia—driven by a rich jazz heritage and contemporary fusion—are gaining quiet but steady global traction. These include the nostalgic hip-hop tunes of Kasmase, Rophnan’s progressive EDM, which unites traditional rhythms from various ethnicities, and the multi-generic musicking of Yohana, all building their own devoted fanbases.

Hip-hop is sweeping through the Somali mainland, with many young artists displaying unprecedented star power but the influence of the Sharma Boy, both locally and internationally, cannot go unmentioned. The diaspora has already contributed a slew of popular Somali masked rappers, from wewantwraiths to Big Mubz and 38 Shamz. And in the case of we want wraiths, we’re seeing rappers reconnect with their counterparts in Africa, after he dropped a feature with Bella Shmurda, a Nigerian singer. 

These scenes thrive not solely on Western validation, but on organic virality, cross-African collaborations, and the immense power of local fan engagement. They are a testament to the continent’s internal musical dynamism and a powerful argument against any monolithic view of “African music”. The continent is not a single sound, but a cacophony of countless distinct rhythms, languages and stories, each finding its voice in the digital age.

And here lies the heart of the rhythmic dissonance: when we celebrate this undeniable progress, our gaze often drifts instinctively towards Western accolades. The Grammy Awards, Spotify streams, Billboard charts become the ultimate barometer of success. An African artist winning a Grammy is undeniably a moment of immense pride and a significant milestone for their career and the genre. It offers unprecedented exposure, opens lucrative touring opportunities, and brings financial uplift. Yet, the persistent emphasis on these external markers raises uncomfortable questions about neo-colonialism in cultural valuation. Why does the pinnacle of achievement for music born on African soil still reside in a trophy handed out by a Western institution? Does it imply that a song’s inherent artistic merit, or its profound impact within its own cultural context, is somehow incomplete until validated by a foreign gaze?

This isn’t merely an academic debate; it has tangible implications. It can create a subconscious pressure on artists to tailor their sound to appeal to Western sensibilities, potentially diluting the very authenticity that made their music unique in the first place. It risks perpetuating a hierarchy where “global success” is synonymous with “Western acceptance”, rather than recognising the intrinsic value of music that speaks directly to its roots, its people, and its immediate environment.

The creation of a “Best African Music Performance” Grammy category last year, and the Billboard Afrobeats Songs Chart in 2022, while celebrated by many as progress, can also be viewed through this lens: a well-intentioned but potentially problematic attempt to “contain” and categorise

The argument isn’t to dismiss the achievements of African artists who win these awards; their talent and hard work are undeniable. Rather, it’s a call to scrutinise the system itself, to acknowledge that while these platforms offer visibility, they also subtly reinforce a power dynamic where the West remains the ultimate arbiter of cultural excellence.

The creation of a “Best African Music Performance” Grammy category last year, and the Billboard Afrobeats Songs Chart in 2022, while celebrated by many as progress, can also be viewed through this lens: a well-intentioned but potentially problematic attempt to “contain” and categorise, rather than truly integrate, African genres into a universal musical lexicon without a generic, “othering” designation. 

The path forward, then, demands a conscious decolonisation of success metrics. It requires African artists, industry leaders and cultural commentators to robustly champion and invest in their own institutions. Imagine a global music landscape where African-led award ceremonies like AFRIMA or the South African Music Awards carry the same—if not greater—weight and prestige within the global consciousness. This means not just hosting events, but building the robust, transparent and globally recognised infrastructure to support them: independent auditing, widespread media coverage, and equitable royalty collection systems that truly benefit artists. It means investing in local talent development, production facilities and distribution channels that allow African music to thrive autonomously. It means fostering a narrative where the highest honour is not necessarily an external trophy, but the profound connection with millions of listeners across the continent, the capacity to inspire social change, or the undeniable resonance of a rhythm deeply rooted in ancestral memory.

African music doesn’t need external validation to be magnificent. Its rhythmic complexity, its narrative depth, its innovative spirit and its sheer diversity are self-evident.

Beyond the institutional level, there ought to be a vital call for Africans to actively shape their own musical narrative. This means prioritising fellow Africans as the central audience for their creations. By intentionally shifting listening habits towards local and continental artists, Africans can strengthen their own music industries and foster a vibrant ecosystem that celebrates indigenous sounds. This shift is not merely about consumption; it is about active collaboration and cross-cultural learning among African musicians. By engaging with each other’s diverse musical traditions, sharing knowledge, and co-creating, African artists can forge a powerful, unified voice that resonates globally, authentically representing the continent’s rich and multifaceted musical heritage on its own terms.

African music doesn’t need external validation to be magnificent. Its rhythmic complexity, its narrative depth, its innovative spirit and its sheer diversity are self-evident. From the polyrhythms that form the backbone of so many genres to the storytelling embedded in its lyrics, this music has always been a powerful force, influencing countless global genres, from blues and jazz to hip-hop and house. It is the original blueprint, a wellspring of creativity that continues to refresh and redefine global music. The current international boom is a reflection of its inherent power finally breaking through, amplified by technology.