Why Buju Banton's Afrobeats critique misses the mark & 10 soul-lifting Afrobeats songs

Jamaican legend, in a bid to speak on Afrobeats and its current global dominance, showed ignorance as regards his knowledge of the genre.

Jamaican iconic dancehall, ragga, and reggae singer Mark Anthony Myrie, popularly known as Buju Banton, has caused a stir over his recent critique of the Afrobeats genre.

The Grammy-winning act, who recently returned to the United States for his "The Overcomer Tour" after being deported to Jamaica in 2018 for a drug conviction, was a guest on the popular American podcast "Drink Champs." Hosted by legendary Queens rapper-turned-show host N.O.R.E. and Miami hip-hop pioneer DJ EFN, Banton spoke extensively on his career, the state of Jamaican music, Overcoming Jail, Bob Marley, and a host of other interesting topics.

While speaking on the podcast, which premiered on August 10th, 2024, the legendary Banton criticised the afrobeats genre, which is currently at the forefront of global music dominance, for not giving props to reggae and dancehall, lacking depth in its music, being a culture vulture movement that stole from Jamaica, and some other statements. The singer's comments stirred an uproar in the music community, especially among Africans and Caribbeans. Here are my thoughts:

Are Buju Banton's Takes on Afrobeats Accurate?

Even though Banton's argument might hold little water, his comments on Afrobeats are entirely incorrect and largely come from a place of not being as heavily invested in the genre or as knowledgeable about it as he thinks. For clarification, Afrobeat (without the "s"), which was pioneered by the legendary Fela Anikulapo Kuti, is a West African musical style, primarily in Nigeria, that combines traditional rhythm, highlife, funk, jazz, and soul into one, and was developed in the 1960s and 1970s. Years later, due to its success and the success of its pioneer, it became a stand-alone genre like other traditional genres such as Fuji, Apala, Juju, and Kizomba. Afrobeat, being a fusion of various sounds, including Western influences like jazz, logically has a strong foundation; therefore, Afrobeats leaned towards this genre more than other West African genres, crediting it as the groundwork for the newly evolved Afrobeats (with an "s"). Afrobeats, like Afrobeat, consists of several genres of music and is, in fact, more of an umbrella term for popular West African genres of music from the 2000s, 2010s, and beyond, with subgenres like Naija beats, Juju, Highlife, Azonto, and even UK-developed genres like Afro-swing. Therefore, it's clear that Afrobeats is a relatively modern genre of music played and enjoyed mostly by young people.

Props to Reggae?

Now that Afrobeats and Afrobeats as a genre have been defined and their differences clarified, Banton's expectation that Afrobeats should give props to reggae feels like a reach, especially because the closest genre that can be attached to Afrobeats in this discussion is dancehall, which is not even a dominant genre in Afrobeats' musical composition. Of course, African stars over the years have looked up to Caribbean musicians, given that they had exported their music on a global level long before Africans did; by 1985, the Grammys—the peak of music awarding bodies—had included reggae in their categories. The likes of the Marleys, Bunny Wailer, Buju Banton himself, Sean Paul, Shaggy, and the entire reggae movement were therefore inspirational to Africans, especially because of the cultural connection between the Caribbean (particularly Jamaicans) and many Africans (especially West Africans). However, now that it is Afrobeats' turn to gain its well-deserved global dominance, it is surprising that the genre and its people are expected to give some sort of credit to reggae when, in actuality, the music is not on the same spectrum.

Culture Vulture

Of course, Africa has incredible artistes inspired by reggae, with a majority of them playing dancehall as a genre itself; artistes like Daddy Showkey, Stonebwoy, Patoranking, General Pype, Burna Boy etc. However, neither Afrobeat nor Afrobeats have reggae as a major component; the highest influence is from dancehall, due to its fast pace, but it is still not a major component of the modern Afrobeats genre. Interestingly, the drums and rhythms that makes up reggae itself draw influence from traditional African folk rhythms. So, how is it possible that the Afrobeats movement might have been culture vultures of Reggae and Dancehall, especially Reggae?

Lacking Depth

Once again, Banton's critique of the Afrobeats genre misses the mark, largely due to a lack of understanding. During the interview, Banton mentioned African stars like Fela Kuti (Afrobeat), Lucky Dube (Reggae), Salif Keita (Traditional Mande music), Youssou N'Dour (Traditional Mbalax), and Baaba Maal (Traditional African rhythms) as the African artists he feels have depth and create soul-lifting music. It's important to note that all the names he mentioned are musicians who play predominantly traditional music, with lyricism and delivery rooted in Africanism and communalism. As such, they continuously follow paths of political, social, and mental consciousness.

Afrobeats, being a modern genre of music, follows a path that appeals to the younger generation, whose realities often revolve around vices and frivolities. To put this in perspective, Banton, in the same podcast, defined reggae as music that speaks to the soul, while dancehall is a genre where young people express themselves and explore more sexualized themes (i.e., vices and frivolities). This explains why a large portion of the catalog from Caribbean artists like Sean Paul and Shaggy focuses on themes like women's bodies, gyrating, and similar topics. Drawing a parallel, Afrobeat could be seen as the soul-stirring genre, akin to reggae, while Afrobeats might be viewed as the more sexualised genre, akin to dancehall.

Against this backdrop, isn't it ironic that Banton expects Afrobeats, a modern-day genre, to provide the depth that dancehall, also a modern-day genre, does not? Moreover, because of the solemnity of reggae music and the upbeat tempo of Afrobeats, it’s easy to perceive depth in a calmer song compared to an uptempo one, even if the uptempo song is rich with inspiring lyrics. A perfect example is BNXN's (formerly Buju) "Pray," a fast-tempo song that centers around hope, optimism, and prayer.

To further buttress the argument that Banton's comments on the podcast were inaccurate, here are ten Afrobeats songs that uplift the soul.

1. Burna Boy ft Youssou N'Dour - Level Up

The song focuses on running your race till the victory lap, not giving up, believing in one's ability, and fighting for what's yours. Level up! The song kicks off with a sample of 1950s hitmaker Pat Boone singing a song from the 1959 film Journey to the Center of the Earth. The introspective tune reflects on past struggles, celebrates accomplishments, and encourages listeners to keep pushing until they achieve their goals. Level up! Part of Burna Boy's lyrics reads, "Because right when you start feeling like you can't level up, that's when you haffi shut the devil up." Senegalese legendary singer Youssou N'Dour's contribution to the song adds a much-needed layer of cultural richness and authenticity.

2. Asake - Sunshine

'Sunshine' speaks of having to go through pain to eventually conquer it. The neo-fuji singer believes success is sweeter and more fulfilling after labour has been undergone, as his lyrics in Yoruba say, 'Igbadun aye po leyin iponju.' The feel-good tune interpolates the classic Lighthouse Family song 'Ocean Drive' and explores themes of positivity, gratitude, resilience, and other essential qualities needed to navigate this very dark world. Knowing that not everything can be achieved through physical effort alone, Asake resoundingly prays in the song that 'the sun is going to shine on everything you do.

3. Brymo - Jungle Fever

The fast-paced tune calls for freedom from the people against their opressors! "check your time, its free yourself O'clock!" Byrmo preaches. Highlithnin the everyday crisis, revolving around corruption, bribery, tribalism, negligence and other plagues in African society, the singer opines that the people have to be the one that will love and free themselves from this shackles, as the opressors dont care.

4. J Martins - Cool Temper

J. Martins, on 'Cool Temper' (a pidgin term that loosely translates to "Reduce Your Temperament"), explores the importance of maintaining a clear mindset to navigate life. The singer highlights the fact that provocations and turmoil are constant in life, and one needs to cool their temper to handle these challenges. "Stand up to your feet and say no to your defeat," he says, promoting firmness and resilience in facing adversity while dealing with it with a steady mindset.

5. Monsters you made

The highly lyrical, invested song focuses on social activism, historical injustices, colonialism, and many other important issues in African societies. Sampling the voices of two African icons, Burna Boy begins the song with a speech by Fela Anikulapo Kuti on marginalization and injustice and ends it with the voice of renowned Ghanaian author Ama Ata Aidoo, who speaks on the recurring exploitation, degradation, and violence perpetrated by Colonial Europeans against Africans.

The shackle-freeing song, which features British singer Chris Martins, calls for unity, resistance, and, most importantly, awareness among Africans against structures representing Europe's plan of inequality and injustice. Burna Boy has made it known that the harsh realities imposed by the system have turned the people into "monsters."

6. Black Sherif - Soja

The themes of Black Sherif's "Soja" center on inner strength, resilience, and the mental battles one faces in life. The song reflects on the struggles of maintaining focus and staying strong in the face of personal challenges and external pressures. "Soja" (short for "soldier") is used metaphorically to represent the mindset of a warrior, someone who is determined to keep fighting despite the odds.

Black Sherif addresses the importance of mental fortitude, urging himself and others to keep pushing forward even when feeling overwhelmed or vulnerable. The song also touches on themes of self-awareness and the internal conflicts that come with trying to stay true to oneself while navigating life's difficulties. Ultimately, "Soja" is a motivational anthem that encourages listeners to remain steadfast and resilient, no matter the obstacles they encounter.

"Soja," a shorter form of "soldier," sees Ghanaian artist Black Sherif metaphorically depict the mindset of a warrior on the battlefield, committed to fighting until the very end. The song emphasizes the importance of mental and physical strength in navigating life, even when it feels overwhelming. "Oh soldier, stand and beat your chest, dem dey come, no let them catch you off guard," the lyrics highlight the need for fearlessness and preparedness.

7. Dremo - Thieves in Uniform

Released on October 4th, 2022—sixteen days before the Nigerian Armed Forces shot at peaceful protesters in Lekki, Lagos State, on October 20th, 2022—the song by Dremo highlights the constant oppression inflicted by oppressors upon the people through one of their fear-wielding tools: the police.

The title "Thieves in Uniform" not only refers to the intense police brutality Nigerians have experienced but also to the government brutality they have faced over the years. "We go gas fight back to win this combat." Dremo rallies the masses to resist because the oppression will not stop. The song is a call for awareness, justice, and reform in the face of systemic corruption.

8 Falz ft Sir Dauda - How Far?

The introspective song addresses Nigeria's disheartening situation since its independence in 1960, a situation that is also common in African societies. Falz and his collaborator on the song, Sir Dauda, are asking, "How far?" which directly translates to "What's happening?" due to the nation's persistent backwardness since independence. The song highlights how the people continue to suffer while the country's leaders and elite enjoy themselves through looting, corruption, and other heart-wrenching means.

The future generation's prospects are regularly dashed as the same political class continues to recycle clueless leaders to govern the people, leading to a massive export of society's brightest and youngest minds to advanced parts of the world in pursuit of their life goals. The song calls for concern for justice and transparency, cries for change, and urges the masses to stay aware and involved in demanding better governance.

9. 2baba ft Sauti Sol

The Nigerian and Kenyan collaboration titled "Oya Come Make We Go," which loosely translates to "Rally Around, Let's All Go," highlights adventure, fearlessness, the pursuit of happiness, and more. Given how worn African society has made people, the song serves as a much-needed upliftment to stand up and go after our dreams regardless of the obstacles.

The song’s intentional use of "we" also underscores the power of unity and collective effort in achieving one's goals. "If you don't jump, you never fly; and if you don't fall, then you never feel the pain," part of the lyrics reads, urging you to have no fear and take the leap of faith in proactively pursuing your dreams.

10. Brymo - Let us be great

Brymo, in "Let Us Be Great," as the title indicates, pleads for societal development. The African society, plagued with backwardness, easily crushes the dreams of its people due to the many social barriers it possesses. The song longs for freedom, fairness, and equality, calling on leaders to create a society where everyone is given a fair chance to fly, compete, and succeed in what they know how to do.

Parts of its lyrics read: "Let us be great for once, let there be room for all. The whole world is moving on; what are we waiting for?" This is a cry at the fact that the world is advancing without us - Africa.

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