Earlier this month, Benin-born artist Hubert Sodoganji, popularly known as Amémé, released his remix of five-time Grammy award-winning singer ⁠Angelique Kidjo’s 30-year-old iconic track Agolo. The significant cultural connection and collaboration, as both artists are from the West African nation of Benin, has allowed Sodoganji to house his distinct brand of Afro-house to the track, which for him emphasizes the importance of bridging generational gaps in music.



“Hubert or Amémé, what may we call you?”



“That’s a good question,” Sodoganji laughs in his hotel room in sunny Cape Town, South Africa, wearing a bright pink t-shirt, as he sits for a chat on Zoom with FORBES AFRICA. “Honestly, people just choose whatever they like, because Hubert is my first name, but it&#8217;s also like my European name. Amémé is my middle name given to me by my grandmother and it&#8217;s my African name. When I decided to go full-time into music, that’s when I knew that I was going to focus on something inspired by my African roots.”



Before gaining global recognition between 2019 and 2020, from Monday to Friday, Sodoganji worked in the finance sector, in banking, in New York City. On weekends, he honed in on his skills as a DJ playing gigs around the city.



That came to a stop when he decided to pursue his passion full-time, leaving his corporate job to integrate fully into the creative economy.



“A lot of people around me, including my extended family, were a bit confused,” he says. “They were like ‘you&#8217;re going to go and try something that is not stable when you have something stable already’.



“But for me, it was always about finding my true self. When I moved to New York, I went to school, I graduated, and I worked at a bank. And I moved up quite quickly throughout the ranks. So, I had a really good job but I was not there; there was always a void inside me.”



The early stages of the move to music involved bringing his African roots to the work he put out. The unique collaboration of chants, drums, African musical culture, impeccable selection, performance, and French house all came together to formulate the sound he was seeking.



“It&#8217;s like a spiritual thing. It belongs in you really,” he says. “You feel like it belongs to you. There&#8217;s a sense of identity that comes along with it. For me, music is an identity because when I think about African electronic music, and in our space, it just speaks to my soul.”



Sodoganji feels there is more work that he has done for the continent, especially when it comes to educating audiences globally on African sound. Growing up in Benin, Sodoganji says electronic music “was never a thing”.



Not any more, as according to the IMS Business Report by Mark Mulligan and MIDiA Research for IMS Ibiza 2024, the electronic music industry is now valued at $11.8 billion with revenue growth of 17% during 2023.



“A lot of people always ask me how I got into electronic music and it was because of my brother, because he went to Paris for school and came back and exposed me to the music,” Sodoganji says. “But I&#8217;m happy that I&#8217;m kind of also on a mission to bring a certain level of information to both sides. So, I get to share my West African heritage to the electronic music world.”



Sodoganji has released hit singles such as Pliva (in collaboration with Jaimie Jones), Power (with Kosmo Kint), and Wait for You (a single with Franc Fala), which has gained him attention in the electronic music space. &nbsp;



This is what gave him the courage to get his team to make contact with ⁠Angelique Kidjo’s team to see if there was a possibility for collaboration. They unfortunately could not accommodate Sodoganji at the time. It was only a year later when Kidjo sent him a direct message on Instagram requesting to speak more about a possible partnership.



“I could not believe it,” Sodoganji exclaims. “I was blown away.”



In 1994, Kidjo released Agolo which not only marked her debut in triple j&#8217;s Hottest 100 (at #99 in the 1994 countdown) but also earned her first Grammy nomination thanks to another eye-catching video.



“I loved working with Amémé on this brand-new version of Agolo,” Kidjo posted on X on Friday following the release of the remix. “This song holds such a special place in my heart, and giving it a second life 30 years later feels like a full circle moment! Thank you Amémé, you did an amazing job with this new version!”



“I always believe that history is a very critical part of our society because history allows us to know where we are from,” Sodoganji says. He believes that collaborations like this are important as they help bridge the generational gap but also serve as a reminder that African music was always great.



“African music has always been there. African music has always been dope. African music has always defined world music. Maybe back then, there was not enough light on it, but today, with technology, that’s not the case anymore.”



Sodoganji believes that the key to the continued success of African artists is through collaborations, which is why he would like to see more fusion between artists in the future, especially with Afrobeat artists coming into the Afro-house genre.



When asked what advice he would give to his younger self, he concludes: “I don&#8217;t think I would give myself advice, because I was naive enough to dream. Being able to dream and be naive can push you forward, because then you&#8217;re not jaded, you&#8217;re still able to dream and know that your dreams are possible.”



Any regrets leaving the corporate world?



Sodoganji laughs, “What do you think?”

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From Banker To Global DJ: ‘I Was Naïve Enough To Dream’, Says Benin Artist On Afro-House Music And Working With Five-Time Grammy-Winning Artist Angelique Kidjo

It has been a stellar year for music on the continent. Globally, more artists from Africa have taken center-stage introducing the nuances of African sound that’s becoming a firm favorite.



Digital music service provider Spotify has just released its much-anticipated ‘Wrapped’ list that collates the biggest songs, genres, and artists from around the world. According to its data, sub-Saharan Africa (SSA) is experiencing what the streaming service is calling a musical renaissance, with a 114% growth in music consumption, eclipsing other regions.



Leading this charge in 2024 is Nigeria-origin genre Afrobeats, which, according to Spotify, has captivated listeners worldwide.&nbsp;



Wrapped 2024 reveals that Nigerian artists such as Ahmed Ololade, also known as Asake, and Damini Ebunoluwa Ogulu, popularly known as Burna Boy, dominated the most-listed charts.



“This is a major win for Afrobeats, showcasing its growing global influence,” Phiona Okumu, Spotify&#8217;s Head of Music for Sub-Saharan Africa says. “And with Ogulu, a global icon, still holding strong in the top ranks, it&#8217;s clear that Afrobeats isn&#8217;t just a trend; it&#8217;s a cultural phenomenon.”



The streaming platform has also noted the rise of female artists in Africa such as Tyla Laura Seethal and Oyinkansola Sarah Aderibigbe, known as Ayra Starr. Starr takes the crown as the most-streamed female artist, while Tyla leads the EQUAL artist program in SSA. &nbsp;



The South African Amapiano scene also continues globally to take over charts with Tshwala Bam (a song by South African producers TitoM, whose real name is Thato Mathobela, and Bongani Sibanyoni, popularly known as Yuppe) and Imithandazo (song by Kabelo Motha, known to the world as Kabza De Small and Njabulo “Mthunzi” Ndimande) securing spots on the most-streamed list.



“The significant growth in local music consumption reflects the deep connection audiences have with homegrown sounds. Afrobeats continues to captivate the world, while Amapiano’s explosive growth highlights the continent’s ability to innovate and shape global music trends.



“We’re also seeing a rising interest in rap music, underscoring the diversity of African listeners and their appreciation for lyrical and cultural storytelling. This isn’t just about music — it’s about a celebration of identity, creativity, and the cultural heartbeat that makes Africa a global force in music today… Their success is a testament to the power of music to empower and inspire,” Okumu adds.



The Most-Streamed African Artists In 2024



1.Asake Nigerian singer and rapper, Ololade, first came onto the scene in 2017. When he released his hit single, Mr Money, in 2022, the world began to take note. In 2024, his song Lonely At The Top, was one of the most-streamed.


<div class="wp-block-image">
<figure class="aligncenter size-full is-resized"><img loading="lazy" decoding="async" width="682" height="1024" src="https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2173625350.jpg" alt="" class="wp-image-63865" style="width:368px;height:auto" srcset="https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2173625350.jpg 682w, https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2173625350-200x300.jpg 200w" sizes="auto, (max-width: 682px) 100vw, 682px" /><figcaption class="wp-element-caption">(Photo by Joseph Okpako/WireImage)</figcaption></figure></div>


2. Burna Boy Known to the world for his vocal texture, as well as singing in a blend of English and Yoruba, last year, Ogulu became the first international Afrobeats artist to obtain the number one spot on the official weekly UK album chart. His track Higher was on the most-streamed list this year.


<div class="wp-block-image">
<figure class="aligncenter size-full is-resized"><img loading="lazy" decoding="async" width="683" height="1024" src="https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2181280997.jpg" alt="" class="wp-image-63864" style="width:383px;height:auto" srcset="https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2181280997.jpg 683w, https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2181280997-200x300.jpg 200w" sizes="auto, (max-width: 683px) 100vw, 683px" /><figcaption class="wp-element-caption">(Photo by Allen Berezovsky/Getty Images)</figcaption></figure></div>


3. Seyi Vibez At only 24 years old, Balogun Afolabi Oluwaloseyi’s track Different Pattern was ranked number six this year on the most streamed list. Hailing from Nigeria, in 2023, Oluwaloseyi had his breakthrough with his single Chance (Na Ham), which debuted at number 19 on the UK Afrobeats singles chart and peaked at number 7 on the TurnTable Top 100 chart.


<div class="wp-block-image">
<figure class="aligncenter size-full is-resized"><img loading="lazy" decoding="async" width="683" height="1024" src="https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-1658504921.jpg" alt="" class="wp-image-63863" style="width:449px;height:auto" srcset="https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-1658504921.jpg 683w, https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-1658504921-200x300.jpg 200w" sizes="auto, (max-width: 683px) 100vw, 683px" /><figcaption class="wp-element-caption"> (Photo by Paras Griffin/Getty Images)</figcaption></figure></div>


4. Rema Since his rise to stardom in 2019, Divine Ikubor has continued to reach new heights with his music. In 2023, his hit single Calm Down, also featuring global pop artist Selena Gomez, reached over one billion streams on Spotify.


<div class="wp-block-image">
<figure class="aligncenter size-full is-resized"><img loading="lazy" decoding="async" width="683" height="1024" src="https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2187245344.jpg" alt="" class="wp-image-63862" style="width:293px;height:auto" srcset="https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2187245344.jpg 683w, https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2187245344-200x300.jpg 200w" sizes="auto, (max-width: 683px) 100vw, 683px" /><figcaption class="wp-element-caption">(Photo by Jed Cullen/Dave Benett/Getty Images for British Vogue)</figcaption></figure></div>


5. Davido In 2023, Forbes called David Adedeji Adeleke &#8220;The King of Afrobeats&#8221;, and he has had a big role in the growth of African music globally. This year, Adeleke released a song with five-time Grammy award winning Benin artist, Angelique Kidjo, which has had over two million streams on Spotify.


<div class="wp-block-image">
<figure class="aligncenter size-full is-resized"><img loading="lazy" decoding="async" width="1024" height="683" src="https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2186244849.jpg" alt="" class="wp-image-63861" style="width:534px;height:auto" srcset="https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2186244849.jpg 1024w, https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2186244849-300x200.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2186244849-768x512.jpg 768w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption"> (Photo by Paras Griffin/Getty Images)</figcaption></figure></div>


6. Wizkid Ayodeji Ibrahim Balogun has been regarded as one of the most prominent figures in the “modern-day Afrobeats music scene” as well as considered him as “one of the biggest and most influential African artists of all time”. In 2024, Balogun released his much-anticipated single Piece of My Heart, featuring American singer-songwriter Brent Faiyaz.


<div class="wp-block-image">
<figure class="aligncenter size-full is-resized"><img loading="lazy" decoding="async" width="683" height="1024" src="https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2187920400.jpg" alt="" class="wp-image-63860" style="width:427px;height:auto" srcset="https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2187920400.jpg 683w, https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2187920400-200x300.jpg 200w" sizes="auto, (max-width: 683px) 100vw, 683px" /><figcaption class="wp-element-caption">(Photo by John Phillips/Getty Images for BFC)</figcaption></figure></div>


7.&nbsp; Bnxn Afro-fusion has become relatively popular but it’s not a new genre on the continent. However, artists like Daniel Etiese Benson have been at the forefront of this genre since his breakthrough in 2018.



8. Omah Lay Stanley Omah Didia has become a household name for songs like Soso and Holy Ghost. His album Boy Alone was also ranked number 8 on the most-streamed list this year.


<div class="wp-block-image">
<figure class="aligncenter size-full is-resized"><img loading="lazy" decoding="async" width="682" height="1024" src="https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2160689344.jpg" alt="" class="wp-image-63859" style="width:388px;height:auto" srcset="https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2160689344.jpg 682w, https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-2160689344-200x300.jpg 200w" sizes="auto, (max-width: 682px) 100vw, 682px" /><figcaption class="wp-element-caption">(Photo by Joseph Okpako/WireImage)</figcaption></figure></div>


9. Kizz Daniel Oluwatobiloba Daniel rose to fame in 2014 with his single Woju. In 2024, Daniel has had over four million monthly listeners.


<div class="wp-block-image">
<figure class="aligncenter size-full is-resized"><img loading="lazy" decoding="async" width="1024" height="683" src="https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-1443949840.jpg" alt="" class="wp-image-63858" style="width:504px;height:auto" srcset="https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-1443949840.jpg 1024w, https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-1443949840-300x200.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2024/12/GettyImages-1443949840-768x512.jpg 768w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">(Photo by Hector Vivas &#8211; FIFA/FIFA via Getty Images)</figcaption></figure></div>


10. ODUMODUBLVCK As an artist who is known for his genre blend music, (known as ODUMODUBLVCK) Tochukwu Gbubemi Ojogwu’s album EZIOKWU was in the top five for the most-streamed album in 2024.

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‘The Cultural Heartbeat That Makes Africa A Global Force In Music’: 2024’s Biggest African Artists As Afrobeats Dominates Charts Again

Nigerian Afrobeats artist Mohbad passed away at the age of 27 on September 12. Posthumously, he surpassed global icons on the charts and experienced a surge in streaming.



Ilerioluwa Aloba, popularly known as Mohbad, passed away at the age of 27 on September 12, leaving a mark as an Afrobeats artist from Nigeria. Posthumously, Mohbad reportedly surpassed global icons such as Nicki Minaj and Eminem, securing the 46th spot among the world&#8217;s best-selling digital artists.



In the week following his demise, Mohbad&#8217;s track Peace soared to the second spot on Billboard&#8217;s Hot Trending Songs chart. Simultaneously, Blessed peaked at number four, and Light marked its entry at number 20 on the Nigerian Official Top 50 Albums chart. Notably, Times Square&#8217;s billboards in New York also paid tribute to the late Nigerian star.



Mohbad&#8217;s posthumous resurgence extended to streaming platforms – TurnTable Charts reported a 702% surge in his music streams since his passing.



Tributes from artists globally, including Meek Mill, Lil Durk, and Kodak Black, underscored Mohbad&#8217;s international influence. In Nigeria, over 50 songs were dedicated to his memory, flooding streaming platforms with heartfelt original recordings and covers. The candlelight procession held across several states, notably at Muri Okunola Park in Lagos, Nigeria&#8217;s largest city, drew notable artists like Davido, Zlatan, Chike, Skales, and Falz.



Stakeholders highlight the complexity of audience reactions to an artist&#8217;s work, especially in the wake of tragic events. Some have attributed the influx of streams to newfound awareness rather than a sudden change in appreciation, emphasizing the diverse ways people connect with music and artists.



Music critic Abiola Fasanmi tells FORBES AFRICA, &#8220;Mohbad was not just an artist; he was a visionary. His posthumous success is bittersweet, but it reflects the undeniable talent he brought to the world.



&#8220;It&#8217;s unprecedented for an artist to climb global charts after their passing. Mohbad&#8217;s music resonated profoundly, capturing the essence of Afrobeats and transcending cultural boundaries.&#8221;



Commenting on the Billboard rankings, Fasanmi observes: &#8220;To see Mohbad surpass industry giants posthumously is a testament to the authenticity of his art. He had a unique ability to connect with listeners on a deep emotional level.



“The surge in streaming numbers reflects the collective grief and celebration of Mohbad&#8217;s artistry.”

mohbad

Posthumous Feat: From Afrobeats Star To Global Music Charts Domination

Nigeria leads the proliferation of Africa’s new sounds in the West.



<hr class="wp-block-separator"/>



In an Africa fresh from economic liberalization, music found
a new voice, thanks to social media and platforms like YouTube, Spotify and
Apple Music, which streamed thousands of African songs into the homes of
millions in the diaspora. 



The western world, suddenly, was introduced to Africa’s new
sound, Afrobeats. Free from the shackles that had previously plagued the
Nigerian movie industry, known locally by the moniker, Nollywood, artists, now
empowered with this new distribution platform, could begin to experiment in
different languages, sounds and genres that had, until then, remained confined
to only regional pockets. 



The past few years, however, have seen a rapid evolution of
the Afrobeats scene across Africa and Nigeria is leading its explosion
globally. 



Events such as the One Africa Music Fest, an African musical
experience showcasing Africa’s best and brightest talents, have solidified
Africa’s position in the global entertainment industry. 



<div class="wp-block-image"><figure class="aligncenter"><img loading="lazy" decoding="async" width="1024" height="683" src="https://www.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-1030097404-1024x683.jpg" alt="" class="wp-image-39819" srcset="https://cms.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-1030097404-1024x683.jpg 1024w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-1030097404-300x200.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-1030097404-600x400.jpg 600w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-1030097404-768x512.jpg 768w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-1030097404.jpg 2048w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /><figcaption>BROOKLYN, NY &#8211; SEPTEMBER 09: Yemi Alade performs on stage at 2018 Essence Street Style Festival on September 9, 2018 in Brooklyn City. (Photo by Dave Kotinsky/Getty Images for Essence)</figcaption></figure></div>



Afrobeats has not only captured a new western audience but
has also influenced the sounds of some of America’s biggest artists.



“Afrobeats is absolutely taking over. In 2016, Drake’s One
Dance, which featured Wizkid, was arguably one of the biggest sounds globally.
Then you had French Montana with Unforgettable, which was also huge and both
videos were shot in Africa. So, this thing is becoming a movement,” says
D-Black, a Ghanaian Afrobeats artist and founder of Black Avenue Muzik record
label.



It’s almost impossible to attend a party or wedding in
Africa and not be treated to one of Afrobeats’ ubiquitous chart-toppers. 



With hits from artists like Davido, Wizkid, Yemi Alade and
many more pounding out of speakers across the continent, the movement of
Afrobeats not only covers major cities in Nigeria, but also some far-flung
locales.



“You cannot really talk about Afrobeats without talking
about Lagos. The music scene is very fast-paced and colorful. Each local area
has its own unique sound. On the mainland, we have the heart music being pushed
by artists like Small Doctor. 



“We also have the live Afrobeats scene and then the Alte
scene, which is a different music on its own. People like to identify Alte
sound with the western crowd and mainly people who live on the island,” says
Paul Yusuf, DJ and founder of Music Revolution Nigeria.



<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">But that doesn’t mean that the artists are benefiting from the buzz. Similar to Nollywood, piracy remains rampant making it impossible for artists to sell their music. </blockquote>



“There are several ways of accessing music locally in
Nigeria, from the streets, where you have street vendors selling illegally
obtained music or in a well-known tech hub called computer village, where
consumers can download thousands of illegally obtained new music onto their
hard drive from as little as N2,000 ($5),” Yusuf says. 



“In Africa, the model is different. It is all about putting
out as much free music as you can without necessarily charging, then you become
a big artist once you have enough hit songs and then make your money back from
being booked on shows. When you think about it, some of the biggest stars in
the United States make most of their money from tours,” says D-Black.



Despite these challenges, the advent of Web 2.0 and
community marketing mean the Afrobeats scene has been digitalized, providing
savvy entrepreneurs like Don Jazzy, with a new revenue model.



“Back in the day, we didn’t care too much about online streaming platforms like YouTube, Apple Music and Spotify, but now it is a major focus for generating revenue. Nigeria still lags behind on online platforms but there are people in the diaspora who because of the growth and exposure of the Afrobeats music patronize us online by buying from these streaming platforms. 



<figure class="wp-block-image"><img loading="lazy" decoding="async" width="685" height="1024" src="https://www.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-1026043782-685x1024.jpg" alt="" class="wp-image-39820" srcset="https://cms.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-1026043782-685x1024.jpg 685w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-1026043782-300x449.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-1026043782-600x898.jpg 600w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-1026043782-201x300.jpg 201w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-1026043782-768x1149.jpg 768w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-1026043782.jpg 1369w" sizes="auto, (max-width: 685px) 100vw, 685px" /><figcaption>PHILADELPHIA, PA &#8211; SEPTEMBER 01: Davido performs onstage during the 2018 Made In America Festival &#8211; Day 1 at Benjamin Franklin Parkway on September 1, 2018 in Philadelphia, Pennsylvania. (Photo by Lisa Lake/Getty Images for Roc Nation)</figcaption></figure>



“The numbers from Nigeria is not big because most people prefer to download from free sites and most of them use Android, boom play apps and others to get access to the music,” says Jazzy.



Born Michael Collins Ajereh, he is a record producer,
singer, songwriter and entrepreneur. He is also the founder of one of Nigeria’s
most successful record labels, Mavin Records, with a roster of stars including
Tiwa Savage and Korede Bello. 



He pioneered the proliferation of Afrobeats into countries
like the United Kingdom (UK) and the United States (US) when he created his
first record label, Mo’ Hits Records, with former partner, D’banj. The pair was
signed by US music mogul, Kanye West, to his GOOD Music imprint, at a time when
the industry was still in its infancy bringing global attention to the world of
Afrobeats.



“Everything changed with D’banj. Oliver Twist opened up the
labels to want to invest in Africa because that was the first single that was
pushed by a label properly. Kanye West signed D’banj and Don Jazzy and that was
big news. When Mo’ Hits came out with their sound, it was easy to get the
world’s attention on Afrobeats, coupled with improved production and quality
music videos,” says the London-based DJ Flex.



According to Jazzy, the digital revolution of the Afrobeats
sound has led to the proliferation of the music into the diaspora, leading to
different sub-categories like Afro-pop, Afro-dance and Afro-reggae. This has
also affected the revenue model of the business.



“When it comes to Afrobeats, we have to look at two main
revenue streams. The type of songs that impact the clubs and Nigeria locally;
and secondly, the type of sound that moves numbers online, thus digitally. So,
you have to be very conscious of the type of music you make at the moment. You
have to consider whether you are trying to do this song so that you will be
popping in Nigeria and thus offline or are you doing the song for
international.



“For example, Korede Bello has Godwin, which was a very big
song offline and translated into him going for more shows and getting club
plays and party plays. But a song does like that, if you go on YouTube, Spotify
and Apple, the numbers are ridiculously crazy because the diaspora market
preferred that kind of sound and they streamed it more. So, you definitely have
to be conscious about what you want to achieve,” says Jazzy.



<figure class="wp-block-image"><img loading="lazy" decoding="async" width="725" height="1024" src="https://www.forbesafrica.com/wp-content/uploads/2019/03/DonJazzy12571-725x1024.jpg" alt="" class="wp-image-39821" srcset="https://cms.forbesafrica.com/wp-content/uploads/2019/03/DonJazzy12571-725x1024.jpg 725w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/DonJazzy12571-300x424.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/DonJazzy12571-600x847.jpg 600w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/DonJazzy12571-212x300.jpg 212w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/DonJazzy12571-768x1085.jpg 768w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/DonJazzy12571.jpg 1450w" sizes="auto, (max-width: 725px) 100vw, 725px" /><figcaption> Don Jazzy. Picture: Getty </figcaption></figure>



Social media has played a big role in this new trend by
making artists connect with audiences outside Nigeria. It has also influenced
the new sound of Afrobeats by giving Nigerian and African artists a window into
the world of pop culture in America by removing geographical barriers. 



“You no longer have to travel to the US to see what your
favorite artists are doing because they are all vying for attention on social
media platforms out of fear of dying out,”&nbsp;
D-Black says. 



With a population of 180 million in Nigeria, its music
industry is projected to grow, buoyed by the increase in smartphones and
platforms such as Instagram, Twitter and YouTube. According to the
International Federation of the Phonographic Industry,&nbsp; the global recorded music market grew by 8.1%
in 2017, reaching $17.3 billion that year on the strength of digital streaming
revenue. 



The big question is, with a largely unregulated industry,
how are these artists making their money?



“Money comes in when you have a good product and you make FX
from digital sales and when that artist starts growing and you go for shows,
then they get paid and you split the proceeds, depending on the sharing ratios
you have with the artist. 



“Different artists have different sharing ratios and that
depends on how long you have been with the artist and how badly perhaps you
want the artist. There are also endorsements from brands as well,” Jazzy says.



His Mavin Records label recently made news for securing an
undisclosed investment from Washington DC-based investment firm Kupanda
Capital, a firm with the goal of creating, capitalizing and scaling up
pan-African companies.&nbsp; 



“We are trying to build a long-term structured platform that
can connect African music on the continent and beyond for further global
consumption. We intend to use the investment for distribution of our own music,
product development and hire new staff to take the brand to the next level,”
Jazzy says.



The alleged multimillion-dollar investment by Kupanda into
the Nigerian record label presents yet another compelling case for the
Afrobeats genre, which presents revenue generating opportunities that are too
big to be ignored.



<figure class="wp-block-image"><img loading="lazy" decoding="async" width="1024" height="706" src="https://www.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-831170890-1024x706.jpg" alt="" class="wp-image-39822" srcset="https://cms.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-831170890-1024x706.jpg 1024w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-831170890-300x207.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-831170890-600x413.jpg 600w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-831170890-768x529.jpg 768w, https://cms.forbesafrica.com/wp-content/uploads/2019/03/GettyImages-831170890.jpg 2048w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /><figcaption>LOS ANGELES, CA &#8211; AUGUST 13: French Montana performs onstage during the Teen Choice Awards 2017 at Galen Center on August 13, 2017 in Los Angeles, California. (Photo by Kevin Winter/Getty Images)</figcaption></figure>

Tag: afrobeats

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