Afrobeat or Amapiano: Africa’s Beat, the World’s Profit?
By Musa Sunusi Ahmad
The world is dancing to Africa’s rhythm. From Burna Boy’s sold-out stadiums to Tyla’s Amapiano-fused global hits, the continent’s sound has become the new language of pop culture. But beneath the vibrant music videos and record-breaking streams lies a pressing question for Africa’s creative economy: Is the continent truly benefiting from its cultural export, or is the West profiting more from Africa’s groove?
Africa’s music revolution is doing more than moving bodies—it’s creating jobs. The Afrobeat and Amapiano industries have sparked a wave of opportunities across the continent, from producers and sound engineers to videographers, stylists, social media managers, and PR specialists. According to the IFPI Global Music Report (2024), Sub-Saharan Africa’s music revenue grew by 24% last year, driven largely by these two genres. Music is no longer just entertainment; it’s employment, entrepreneurship, and empowerment.
The streaming era has amplified that growth. Platforms like Spotify, Boomplay, and YouTube have turned local hits into global phenomena. Yet, monetization tells a more complex story. While African artists gain international fame, the financial pipelines remain largely Western-controlled. A 2023 PwC Nigeria report estimates that less than 30 cents of every dollar generated from an Afrobeat stream stays within Africa’s economy. The platforms, publishing companies, and major labels, all headquartered abroad, collect the bigger slice of the profits.
Global brands have also joined the party. From Coca-Cola’s Afrobeat-themed campaigns to Adidas-sponsored Amapiano events, multinational corporations are eager to associate with Africa’s vibrant creativity. But in most cases, the value chain still tilts westward. While the artists’ faces and voices represent Africa, the agencies, production companies, and media rights holders often sit in London, Los Angeles, or New York. Africa contributes the soul, but too often, others cash the cheque.
That imbalance underscores the critical role of communications and PR. The way African music is branded, packaged, and promoted can determine who controls the narrative—and who earns from it. Campaigns like Burna Boy’s African Giant or Tyla’s polished minimalist branding show the power of strategic storytelling in positioning African artistry as both authentic and aspirational. Communications professionals are not just publicists, they’re economic gatekeepers, shaping how Africa’s cultural assets translate into tangible returns.
At the same time, homegrown initiatives are emerging to reclaim control. African-owned streaming services, local event promoters, and music-tech startups are building new pathways to keep revenue within the continent. Governments are beginning to recognize the creative industry as a viable sector, offering grants, IP protections, and export incentives. The goal is no longer just to share Africa’s sound with the world, but to ensure that the wealth generated by that sound circulates within Africa’s borders.
Still, the challenge of ownership remains. For every viral hit or Grammy nomination, there’s a reminder that infrastructure dictates income. True empowerment will come not only from creative talent but from owning the platforms, publishing rights, and partnerships that monetize that talent. Africa has already conquered the global stage artistically; the next victory must be economic.
Afrobeat and Amapiano have proven that Africa no longer needs validation, the world already listens. The question now is whether the continent can turn global applause into sustainable prosperity. Because when the world dances to Africa’s rhythm, the beat of economic benefit should echo just as loudly across African cities as it does in Western boardrooms.
