For The Very First Time in Afrobeats, The Sky didn’t seem to be Big Enough for Everyone to Fly
In 2024, Afrobeats found itself at a crossroads, as an overwhelming number of albums and projects flooded the scene as established stars and few rising talents joined the fray. But despite the flurry of releases, not all managed to soar. For the first time in the genre’s history, it felt like the sky wasn’t big enough for everyone to fly.
The year is wrapping up, and as always, Digital Streaming Platforms (DSPs) are holding up a mirror to our listening habits. Spotify Wrapped, Apple Replay, YouTube Recaps, you name it. The numbers don’t lie; they reflect exactly what we’ve played on loop this year. These lists in some way capture the collective thoughts of Nigerians about music in 2024 which begs the question: Did Nigerian music truly live up to the hype in 2024? Did the 2024 music scene truly live up to its promise at the start of the year?
At the beginning of 2024, excitement was in the air. Big names like Asake, Tems, Victony, and Fireboy promised new projects. Rema was still on a global high, and the stage was set for a stellar year. But as the months unfolded, the hype didn’t quite translate into a game-changing year for Nigerian music. Songs came and went, and albums didn’t stick the way we hoped they would.
Asake and Rema were undoubtedly the year’s saving graces. Asake’s relentless energy and features kept the streets buzzing, while Rema’s HEIS proved his status and global appeal. Tems gave R&B fans something to hold onto with Born in the Wild, earning Grammy nods in the process, and Victony’s Stubborn was a strong contender for the year’s best album. But let’s face it, few artists shouldn’t have had to carry the industry on their backs.
The year also saw projects from Fireboy and Ayra Starr that, while decent, lacked the punch and staying power of their earlier works. Wizkid’s late-year release, Morayo, sparked some excitement but didn’t deliver the spark to close out the year with a bang. Where was the innovation? The daring artistry that made us sit up in previous years? For every solid track, there were many more that faded as quickly as they arrived.
And then there’s the bigger picture. Why does this year feel underwhelming? Is it because Nigerians are harder to impress, or are artists recycling sounds and playing it safe? Could the country’s tough economic climate be dulling our connection to music, making it harder to feel the joy it once brought? Whatever the case, 2024 lacked the cultural reset that Afrobeats has become known for worldwide.
The problem wasn’t a lack of talent; in fact, the opposite was true. Afrobeats artists are undeniably talented, and the genre’s global reach has expanded significantly over the last few years. But this year, was the volume of music—too much to digest? Albums, EPs, and singles poured out in a seemingly endless stream, but few managed to achieve the cultural resonance or long-term impact needed to stand out.
Perhaps the most telling sign of the year’s mediocrity is the absence of a clear song of the year and a clear breakout star. Previous years gave us undeniable anthems like “Last Last” and “Calm Down,” but 2024 doesn’t seem to have that one track that unified us all. There are contenders, but nothing definitive.
So where do we go from here? If 2024 taught us anything, it’s that the Nigerian music industry needs to recalibrate. The global stage is set, and the fans, both local and international, are eager. But the music has to do more than meet expectations; it has to surpass them. As we look forward to 2025, we can only hope the next wave of artists is ready to take the challenge head-on.
What’s your take? Was 2024 a year of missed potential, or is this critique too harsh? Whatever your thoughts, one thing’s certain: we’re all waiting for the next big thing to remind us why we fell in love with Nigerian music in the first place.
