Why identity crisis among Afrobeats singers needs to be addressed – ID Cabasa

The Nigerian music industry, particularly the Afrobeats genre, has seen remarkable global success over the past decade. However, a new trend is emerging among some of the country’s top artistes as they grapple with an identity crisis and challenge the Afrobeats narrative.

Several prominent Nigerian singers, including Wizkid, Burna Boy, and Fireboy DML, have publicly distanced themselves from the Afrobeats label. Wizkid, for instance, expressed his frustration with being boxed into a single genre, arguing that Afrobeats, while a sound in itself, does not encompass the diverse range of music he creates. He describes his music as a “fusion of sounds,” resisting the oversimplification that comes with the Afrobeats tag.

Burna Boy has been vocal about his perception that Afrobeats lacks substance, criticising the genre’s superficial content. He prefers to identify his music as “afro-fusion,” which allows him to integrate a variety of influences without being limited to the traditional Afrobeats sound. Yemi Alade, on the other hand, criticised fellow musicians for distancing themselves from the Afrobeats, arguing that they undermine the genre’s significance in their careers. She deems these actions as “hypocritical.”

Artistes fear that if Afrobeats die, they will be left behind. They aim to expand their horizons and explore other genres to safeguard their musical legacy. Unlike genres like Galala, which lasted a decade in Ajegunle, Afrobeats has shown resilience and a capacity to evolve. The hope for most Afrobeats artistes is to transcend generations, enduring like the foundational genres of Afrobeat and highlife.

The desire for flag bearers of the Afrobeats genre is an aspiration to endure and transcend generations, similar to how Afrobeat, pioneered by legends like Fela Kuti, continue to influence today’s music.

This is why the determined music producer ID Cabasa, the hitmaker behind 9ice’s “Gongo Aso” and “Street Credibility,” is relentless in his mission to correct the identity crisis confronting artistes in the genre. In this interview with PREMIUM TIMES, he shares more about this and his knack for reimagining classics.

Creating a bridge

The producer expressed his determination to bridge the gap between the past and present of Afrobeats, ensuring that the genre’s rich history is not lost in the quest for global relevance.

“I’m trying to bridge where we are coming from, where we are, and where we are heading in the Afrobeats story,” Cabasa explains.

His recent projects, such as the reimagined versions of classics like Styl-Plus’ “Olufunmi” featuring Joeboy, Fireboy, Boj, and OdumoduBlvck and 9ice’s “Photocopy” with Vector, are a deliberate attempt to maintain Afrobeats’ foundational roots while advancing the genre.

He says he is “trying to bring back time and some of the vibes we felt at a particular time in the early 2000s, the millennium and all of that. It’s a project where I’m trying to create a bridge between where we are coming from, where we are, and where we are heading in the Afrobeats story.

“This is an intentional project towards building the bridge from where we are coming from. I’m bringing sounds from where we are coming from so that this identity crisis that we are having, where everybody is trying to deny Afrobeats, needs to stop. This is where the inspiration for what we are enjoying now comes from. We should create new stuff that should be recreated later from where we are going,” he says, emphasising the need to connect past and future.

Evolving with Identity

Cabasa’s approach highlights a fundamental tension within the industry: how to evolve and go global while retaining the core identity of Afrobeats. He believes that taking Afrobeats to the world is crucial, but it must be done without losing sight of its origins.

“We should take Afrobeats to the world because anything you keep to yourself can potentially die. As much as we take it to the world, we should retain the narrative of the origin,” he says, stressing the importance of controlling the story accompanying the genre’s global journey.

“Identity needs to be clarified, and we need to establish a narrative of the Afrobeats genre. These issues will define the sound and ideologies behind what we do. We need to maintain that and be careful with the narrative so that we don’t just end up creating something that nobody will remember that we exist,’’ he said.

Cabasa points out that misconceptions about Afrobeats, such as the Grammys’ description of it as a sound from West Africa influenced by American pop culture, must be addressed. “In my head, we know that what they are calling the African diaspora was some of the things they took from here when they were taking people for slavery.”

Collaborations that matter

Known for his collaborations with veteran and emerging artistes, Cabasa carefully selects his partners based on talent and their ability to contribute to his narrative.

He believes that while numbers and social capital are essential, the true essence of collaboration lies in the ability to tell a compelling story through music.

“First and foremost, I look for talent. And ask the question, ‘Can you deliver the kind of story I want to tell? Can you deliver the content I’m expecting?’ I also look at how far you have helped yourself with numbers and social capital because I come from a generation that was not social media savvy; there was no social media,” he explains.

“As much as I’m focusing on talent, I also need a collaboration of numbers, so I’m looking for talented, skilled artistes with good, engaging numbers.”

Looking ahead

While Afrobeats continues to captivate audiences worldwide, the questions raised by this identity crisis will only become more pressing. Cabasa’s efforts highlight the importance of balancing innovation with a deep respect for the genre’s origins.

His ongoing projects, including the “Unfinished Business” series, aim to showcase established and up and coming talent, ensuring that the next generation of Afrobeats artistes can build on the foundation laid by their predecessors.

“’Unfinished Business’ is a platform where I aim to bridge the gap between established and upcoming artistes in the industry. It’s still a journey, and I’m still building new artistes. Probably by the second volume of the ‘Unfinished Business’ project I’m doing, the social capital will have been built. If I can start putting more upcoming artistes on the project,” the producer shares.

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He is particularly excited about the new generation of producers, saying, “I get to meet a lot of young producers now—Gen-Z guys doing great stuff that some of us wish we could have done at their age. It’s comforting because you should celebrate such talent if you want growth.”

Advising producers who aspire to achieve recognition, he emphasised that the goal should be more than just gaining fame; it’s about building a solid body of work and continually honing your craft.