Afrobeats’ ascent to global popularity has taken a dramatic turn. It began with jaw-breaking streams, topping charts, and winning prestigious awards, including the Grammys. Looking back, Tuface Idibia’s silhouette emerges as a pioneer. The singer evolved from being a Kennis Music discovery with the Plantashun Boiz trio to an international star. In the early 2000s, his hit song “African Queen” won several awards and was featured as a soundtrack in the Hollywood box office hit “Phat Girlz.” At the time, his music was dubbed “Afropop.” The real magical moment in Afrobeats’ soaring fame came with Remedies, the group behind the hit song “Shakomo,” which was inspired by MC Lyte’s “Keep on Keeping On.” In the late 1990s, the trio recorded a freestyle session at Raypower studio, which received massive airplay. Notably, this was before the era of streaming platforms. 

Fast-forward to the 2000s, UK returnees like Don Jazzy and D’banj began exploring pop through African beats. They significantly contributed to the Afropop movement, attracting attention from MTV Base, Kanye West, and the UK charts. D’banj’s “Oliver Twist” alluded to the literary character, and its beat caught the world’s attention. Critics scratched their heads, realising that this genre of music, which experiments with Western styles, needed a name. Thus, Afrobeats was christened, marking a revolutionary branding that propelled the music onto the global stage.

Today, many Nigerian music stars have gained international status, but in doing so, some of them seem to shy away from being labelled as ‘Nigerian musicians.’ Whatever. Rihanna, despite her billionaire status earned from music and merchandise, is still proudly known as a Barbadian singer. Even the teen pop star turned cultural influencer Justin Bieber remains unapologetically Canadian. So, as Lagbaja would say, Nigerian stars—cool your temper.

The Nigerian music scene has indeed come a long way, producing talented artists like WizKid, who has broken through the glass ceiling. From his humble beginnings as a studio rat to becoming an Afrobeats trailblazer, WizKid’s journey is inspiring. He made history by becoming the first Afrobeats artist to win a Grammy in a mainstream category with Beyoncé in “Brown Skin Girl.” Notably, WizKid has carved his own path, creating original hits rather than relying on samples.Before WizKid’s rise to fame, Psquare had already made a name for themselves by sampling international hits. Their song “Busy Body” borrowed from Beyoncé’s “Crazy in Love,” and they continued to sample other tracks. Although their sampling approach didn’t receive much critical acclaim, it didn’t hinder their success. Psquare’s fame soared beyond African shores, earning them an MTV Europe Award for Best African Act nomination in 2006.

Let’s skip forward to Rema and Burna Boy, two of the most influential artists in Afrobeats today. Both artists have been instrumental in shaping the genre’s new direction, which includes remaking western classic hits. Burna Boy, in particular, has been at the forefront of this movement. His song “Last Last” samples Toni Braxton’s 2000 hit “He Wasn’t Man Enough,” and its release marked a significant turning point in Afrobeats. This experiment generated a new cluster for the Afrobeats audience, mostly from the hip-hop community. The success of “Last Last” paved the way for collaborations between Afrobeats artists and their international counterparts. For instance, British rapper Central Cee collaborated with Nigeria’s Asake on the hit song “Wave.” Asake has also been exploring new sounds, as evident in his remix of “Ocean Drive,” which features Tunde Baiyewu of the Lighthouse Family fame. The remix, titled “Sunshine,” showcases Asake’s ability to blend different styles and create something unique. Rema, on the other hand, has been making waves with his own brand of Afrobeats. His music often incorporates elements of hip-hop and R&B, making him a standout artist in the genre. Let’s not forget that Tems, another talented Afrobeats artist, won a Grammy award for Best African Performance at the 67th ceremony with her version of “Love Me Jeje,” originally done by Seyi Sodimu featuring Shafi Bello.

Travis Scott’s collaboration with Asake on the hit song “Active” marked a significant moment in Afrobeats’ global penetration. The genre’s infectious beats seemed to have ignited something in Travis, who became an unlikely ambassador for Afrobeats. As Shallipopi noted, Travis’ foray into Afrobeats was a pleasant surprise.

Rema’s rise to fame has been nothing short of phenomenal. His duet with Selena Gomez on “Calm Down” catapulted him to international stardom. However, it’s his remix of Sade Adu’s “Is it a Crime?” that showcases his artistic growth. Rema’s rendition transforms the classy, sophisticated original into a club hit, reimagining Afrobeats as a powerful, evasive brand that cuts through social status. By infusing the song with tight-lipped cigarette imagery, mid-tempo beats, and street slang, Rema creates a unique sound that’s both nostalgic and futuristic.

Burna Boy’s latest offering is a freshly cooked remix of Soul II Soul’s 1989 classic “Back to Life (However Do You Want Me)” titled “Update.” This remix is a more convenient fit for Burna, as the original was already a dance track. However, he gives it a retro treatment, infusing it with his signature Afrosoul touch. The result is a whiff of nostalgia that’s more than just a cultural excursion. The music video is a visual homage to 70s dance shows like “Soul Train,” featuring a retro aesthetic complete with period-specific costumes.

The remixes by Rema and Burna Boy are a significant part of the Afrobeats movement towards globalisation. By collaborating with international artists, they have expanded Afrobeats’ reach and introduced the genre to new audiences. Moreover, their willingness to experiment with different sounds and styles has pushed the boundaries of Afrobeats, inspiring a new generation of artists.

This artistic experimentation promotes cultural exchange and understanding, highlighting the richness and diversity of African cultures. For instance, Afrobeats has become a common ground for Africans and non-Africans to connect and build relationships. When an African meets someone from the UK who has never lived outside the country, Afrobeats can be a great conversation starter, breaking the ice and solidifying friendships.

For many Africans in the diaspora, Afrobeats has become a source of pride and a sense of connection to their home countries. Rema and Burna Boy’s remixes are not only changing the face of Afrobeats but also creating new clusters of audiences, breaking down barriers, and instituting the genre in mainstream music catalogues. Ultimately, their music is fostering a sense of community and cultural understanding, one beat at a time.