Afrobeat musician and outspoken cultural commentator Seun Kuti has once again stirred conversation in the global music scene, declaring that “Afrobeats is more of a title than a genre.”
In a recent interview on a music podcast, the son of Afrobeat pioneer Fela Anikulapo Kuti offered a critical perspective on the now globally recognized music label, "Afrobeats", questioning its musical depth and the intentions behind its branding.
“I think Afrobeats is more of a title than an actual genre,” Seun Kuti said. “It doesn’t follow the foundational elements that define musical genres. It’s more of a branding term — a catch-all for everything African that sounds rhythmic.”
Seun’s comments highlight a long-standing debate between “Afrobeat” (the politically charged, jazz-funk fusion genre pioneered by Fela Kuti in the 1970s) and “Afrobeats” (a broad term used to describe the more commercial, pop-driven music coming out of Nigeria and West Africa today).
While “Afrobeats” has gained massive global traction, dominating charts and festivals worldwide, Seun and other purists have often challenged its cultural and musical roots, arguing that it lacks the structure, message, and musical complexity of true genres.
Seun Kuti’s statement has drawn mixed reactions online. Some agree with his critique, noting that "Afrobeats" has become too commercially diluted and vague to be considered a standalone genre.
“Wizkid, Burna, Rema, Tems all make different types of music but get lumped under ‘Afrobeats’. Seun might be right — it’s branding, not genre,” one music journalist commented.
Others, however, see his take as dismissive of the innovation and global success of the new wave of African artists.
“Afrobeats may not follow traditional rules, but it’s a sound. It’s culture. It’s evolution. Let it breathe,” a fan replied on X (formerly Twitter).
This isn’t the first time Seun Kuti has challenged the mainstream African music narrative. He has previously criticized artists for avoiding political commentary, and for failing to use their platforms for social impact.
In contrast to the glitz of modern Afrobeats, Seun continues to perform globally with his band, Egypt 80, carrying on his father’s legacy of Afrobeat as both music and movement.
While some may view Seun Kuti’s statement as provocative, it reopens an important dialogue about authenticity, identity, and cultural ownership in African music.
Is Afrobeats a genre in the traditional sense, or has it simply become a label for global African pop?
One thing is certain — the conversation is far from over, and Seun Kuti remains unafraid to challenge the rhythm of the status quo.
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