The Billboard Music Awards introduced nine new categories in 2023 to better reflect the sprawling diversity of global music. Among these were the “Top Afrobeats Artist” and “Top Afrobeats Song” categories, an acknowledgement of the seismic rise of Afrobeats as an undeniable force in contemporary pop. Last year, Burna Boy claimed the artist accolade, while Rema and Selena Gomez’s Calm Down (Remix) took home the song trophy. These wins, widely celebrated, symbolized the industry’s embrace of African-rooted artistry.
But this year, the Top Afrobeats Song category has some scratching their heads. The nominations dropped, and one entry stood out like a cowboy at a reggae concert: “Move” by Adam Port, Stryv, and Malachiii. The track, an EDM-tinged jam devoid of any discernible Afrobeats DNA, landed in a category where its placement feels, at best, perplexing, and at worst, dismissive.
Here’s The Full List:
Adam Port & Stryv feat. Malachiii – “Move”
Tems – “Me & U”
Tyla – “Truth or Dare”
Tyla – “Water”
Tyla, Gunna & Skillibeng – “Jump”
There’s no denying Tyla’s domination here. With three entries, her breakout year feels like a stamp of approval on global stages. But zoom out and ask: where are Nigeria’s representatives, especially in a year brimming with genre-defining hits? Ayra Starr’s “Commas” flooded playlists worldwide. Rema’s “Ozeba” brought energy to dance floors. Asake, ever the street king, had the culture in a chokehold with his “Lungu Boy” album. Yet, these heavyweight moments are conspicuously missing from a list meant to recognize Afrobeats’ best.
A Category Out of Touch?
The inclusion of “Move” raises uncomfortable questions about Billboard’s understanding—or lack thereof—of Afrobeats as a genre. Is this an isolated misstep, or a broader indication of the flawed lens through which African music is being curated on global platforms? It is very important to note that Afrobeats isn’t just a catch-all for “any music featuring a Black artist” or “a vibey rhythm that feels tropical.” It’s a rich ecosystem of styles, a movement born of Nigeria’s post-colonial musical evolution, now spreading like wildfire across the continents while still cracking different global markets. The sound carries a cultural identity, one that clearly didn’t make it into the room when a song like “Move” got the nod.
The Erasure of Nigerian Powerhouses
Beyond genre fidelity, this year’s nominations also appear to downplay Nigeria’s dominance in Afrobeats. Nigerian artists have been the global face of Afrobeats for years, amassing record-breaking streams, headlining international festivals, and securing prime collaborations. That Tyla’s stellar “Water” deserves a spot isn’t in question, but her sweep—with three songs in the category—feels conspicuous when acts like Ayra Starr, Asake and even Rema are glaring omissions.
Does this signify a shift in how Afrobeats is defined? Or is it a reflection of Billboard’s evolving criteria, where algorithmic data and label politics muddy the waters? These questions need answers because the stakes are too high for the culture. Afrobeats, which has fought its way to mainstream visibility, deserves a curation process that respects its boundaries while celebrating its evolution.
Afrobeats Culture Isn’t a Trend
The Billboard Music Awards’ addition of Afrobeats categories initially felt like a win for representation. Yet, incidents like this year’s, highlight how shallow representation can backfire when not grounded in knowledge and respect. If gatekeepers like Billboard fail to maintain authenticity in curation, they risk distorting the narrative Afrobeats has built—a story of resilience, creativity, and global impact.
It’s high time these platforms put their ears closer to the ground. Consult culture custodians, critics, and industry insiders who understand Afrobeats not as a vague marketing term but as a living and culture-oriented phenomenon. Because if missteps like these persist, they don’t just undercut the artists; they, in fact, undermine the entire movement.
Let’s hope Billboard is listening. For the culture’s sake.
Watch – Netng’s The Afrobeat Conundrum: Why the Grammy’s Should Recognise African Pop Music
