The narrative has shifted. For decades, African artists traveled West to seek validation. This week, the West—and indeed the world—traveled to Lagos.
As the 9th All Africa Music Awards (AFRIMA) kicked off its main festivities this week, the sheer scale of the convergence highlighted a definitive reality: African music is no longer a “genre” to be exported; it is the global standard to be consulted.
Over the last seven days, Lagos has transformed into the undisputed capital of global sound. Official figures released yesterday confirm that 1,216 artistes, delegates, and production heavyweights have touched down in the city, marking the largest creative migration in the event’s history. From the British Deputy High Commissioner to major streaming executives, the eyes of the world are fixed on the Ikeja City Mall and the custom-built AFRIMA dome, not just for entertainment, but for the business of the future.
Beyond the Beats: A Summit of Power
While the headlines will inevitably focus on the titan-level clash for “Artiste of the Year” between Burna Boy, Davido, and Amapiano king DJ Maphorisa, the real story lies in the ecosystem being built behind the scenes.
This isn’t just an award show; it is a trade summit. The Africa Music Business Summit, held this past Thursday, moved the conversation from “streams” to “structures.” We are seeing a pivot from pure talent to technical excellence. The presence of 183 top-tier technical production professionals among the delegates signals that Africa is insourcing the high-end production values that used to require London or Los Angeles.
“The turnout shows the growing strength of African music,” noted Mike Dada, AFRIMA’s President, at the Welcome Soirée. But it’s more than strength—it is leverage. The UK government’s vocal commitment to “partnerships that bring mutual economic development” during the event underscores that African creativity is now a diplomatic and economic heavyweight.
The Amapiano vs. Afrobeats Synthesis
Musically, this week has showcased the “Innovation” at the heart of our new era. The rigid lines between Nigerian Afrobeats and South African Amapiano have dissolved. The “AFRIMA Music Village” performances Friday night displayed a new, hybrid sound—a pan-African fusion that is dominating charts from Tokyo to Toronto.
We are seeing artists like Tyla (riding high on her 2025 successes) and rising stars from Francophone Africa seamlessly blending these rhythms. This sonic unity is projecting a front of excellence that is impossible for the global market to ignore.
Why This Matters for Africa
The grandeur of AFRIMA 2026 is a critical indicator of three things:
1. Cultural Sovereignty:
We are hosting our own coronation. By consolidating the celebration of African excellence on African soil, we reclaim the agency to define greatness. We are no longer waiting for a Grammy category; we are building our own ecosystem of prestige.
2. The Creative Economy as an Engine:
The influx of over 1,000 international delegates is a direct injection into the local economy—hotels, logistics, security, and tourism. It proves that the “Orange Economy” is a viable alternative to resource extraction for GDP growth.
3. Soft Power Diplomacy:
When the world dances to African rhythms, they listen to African voices. This cultural dominance provides a platform to reshape political and social narratives about the continent, moving us from a place of “potential” to a place of “power.”
As the main ceremony approaches this Sunday, one thing is clear: Africa is not next. Africa is now.
