The 1987 smash hit Yé ké yé ké by Guinean singer Mory Kanté was a worldwide anthem. As a single from his third studio album Akwaba Beach, the song generated tremendous international success as one of Africa’s best-ever selling hits, and as a European number one in 1988. It was the first ever African single to sell over one million copies.

For years, mainstream audiences experienced African tunes as an exotic feature, sold through “World Music” compilations, and often on the periphery of Western musical product. However, 30 years after Yé ké yé ké, a new generation of African artists has emerged, with tenacious zeal to play at the forefront of the global music scene. Take Afrobeats, for example.

Afrobeats is the Nigerian-born genre that has been dominating Africa over the last decade, and is quickly crossing borders. One must be cautious to make the distinction with “Afrobeat”, the similarly rhythmically-complex genre pioneered by Fela Kuti. In 2017, Afrobeats’ influence on Western music is unavoidable. It has been adopted rapidly, and has gained ubiquitous presence on the radio, TV, and social media.

One of the foremost figures in the Afrobeats scene is Nigeria’s youthful sonic wonder and hit-maker, Wizkid. Essentially, Wizkid has proven that he doesn’t have to adapt his sound to cross over in America; America has already crossed over to his sound. The more generalised affinity for cultural sampling, combined with a frenzied demand for invigorating dance music, has afforded artists such as Wizkid a unique level of currency. For example, Wizkid’s skyrocketing success landed him production and vocal credits on the 2016 anthem One Dance by Drake, one of Spotify’s most streamed songs of all time. Afrobeats’ mainstream success outside of Africa has also been propelled by collaborations with big artists in the music industry such as Alicia Keys and Major Lazer.

What is then unveiled from this narrative, and what it displays regarding the use of music for development, are the commercial possibilities of Africa’s musical product. The emergence of African artists in the international field such as Wizkid is on the rise, and is enhancing cultural economies across the continent. Moreover, the crossover appeal of African music goes to show that abiding by eclectic afrocentric genres does not limit us. If anything, it sets the motion for future African classics, such as Yé ké yé ké, to thrive.

Music4Development, Cultural Economics, December 3, 2017
Featured Images: MD Music