Afrobeats’ global rise has been impossible to ignore.
From sold-out arenas to chart-topping collaborations, the genre’s influence now extends far beyond the continent—yet its heartbeat has always remained distinctly African. At the centre of that pulse are women: managers, label executives, and creative directors who have worked behind the scenes to shape the sound and storytelling of African music. Their work not only sustains artists but also safeguards the genre’s authenticity as it travels the world. As culture journalist Ify Obi notes in Billboard: “Women have always been integral in shaping the sound of African music.”
That sentiment set the tone for Martell: Afrobeats Live in Paris earlier this month, under the theme ‘Women Shaping The Culture’. Moderated by music executive and cultural commentator Sheniece Charway, Panel One brought together voices from ‘Behind The Music’, including Temi Adeniji, MD of Warner Music Africa; PR executive and manager Vanessa Amadi-Ogbonna, who has worked with artists such as Tiwa Savage; and Thuli Keupilwe, founder of Lawk Communications, representing artists and DJs from South Africa. In an insightful discussion, they explored the foundations shaping Africa’s music ecosystem—from artist development to authentic storytelling. They emphasised the need for structured mentorship and education to sustain growth in a rapidly evolving industry, where “we’re literally learning as we go,” as Thuli noted, who has worked behind the scenes with many Amapiano artists—a genre that has gained increasing global popularity.
It’s safe to say that Afrobeats has become a global force. Streaming growth has surged more than 500% in recent years, according to stats which measured streaming numbers between 2017 and 2022, songs like Wizkid and Tems’ “Essence” have broken into the Billboard charts, and Afrobeats has been recognised in award shows and chart categories across the UK and the US. Similarly, Amapiano has exploded from South African townships, solidifying the sound as a peer genre to Afrobeats on the world stage. Yet, while the spotlight is bright abroad, much of the genre’s monetisation still flows outward and validation still leans heavily toward Western markets. Temi highlights that “a lot of monetisation persists outside of the continent,” shaping how African artists create and promote music.
While global influence certainly brings more opportunity, the panel also discussed the question of maintaining authenticity, and balancing global appeal with local identity while ensuring African music remains true to its roots. Artists like Rema are great examples of how you can successfully maintain cultural integrity. While many misinterpreted his Benin-inspired visuals during his London O2 arena show as “demonic”, Rema affirmed that these are rooted in his heritage and birth place of Benin City in Nigeria. Still, maintaining authenticity remains a talking point in discussion around the global rise of Afrobeats and hence an important point to unpack in this panel.
During Panel Two, which focused on how female creatives and executives are shaping Afrobeats’ sound and culture—Rima Tahini, Senior Vice President of A&R and Creatives at Mavin Global, Linda Ayoola, Global Head of Music at Platoon (Apple), and Abi Babalola, Founder of Hera Touring, explored what it truly takes to sustain long-term success in today’s Afrobeats landscape.
“There’s a difference between breaking through and sustained success,” said Linda. “When we’re talking about sustained success, it’s all about infrastructure.” For her, that infrastructure rests on three pillars: understanding data, mastering the business, and preserving creative freedom, emphasising that numbers can act as a compass but never replace artistic instinct or vision.
The panel also shed light on the persistent gender bias women face behind the scenes. “Every time I speak to a female A&R outside of Nigeria, they call me ‘bro’,” said Rima, reflecting the assumption that leadership still defaults to male. While noting her blessings in her current position—being able to work under the likes of Don Jazzy, who she describes as someone who she’s learned a lot from—there are also moments of invisibility: “People sometimes want to greet the man standing behind me, instead of me.”
As much as navigating womanhood in the industry comes with layers of complexity, it’s also a superpower which equips you with unique strengths. “We have to realise the superpower that women have,” Abi shared. “We wear multiple hats.” In addition, allies and mentors are crucial for women in male-dominated industries and act as a buffer against these challenges. True allyship goes beyond verbal support and is about advocating for others in rooms they aren’t in and creating tangible opportunities. “If people aren’t speaking your name in rooms you’re not in, that’s not real allyship,” says Linda. She provides an example of real allyship from her experience at Platoon when she noticed a gap in the industry, reflecting on how CEO of Platoon Denzyl Feigelson backed her vision to launch Platoon Africa with financial and strategic support, empowering her leadership.
For the Fireside Chat, UK broadcaster and cultural commentator Zeze Millz sat down with the COO of Spaceship Collective, Ronami Ogulu, to discuss her work as a creative architect behind Burna Boy’s global identity. Their exchange echoed Burna Boy’s own reflections on the limitations of genre. The artist has previously criticised the “boxing” of Afrobeats, arguing that much of the music fails to mirror real-life experiences and that his self-defined sound, Afro-fusion, was born from a refusal to be confined by labels or expectations. Though he later apologised for his remarks about Afrobeats “lacking substance”, his comments sparked a wider conversation about authenticity, storytelling, and the space African artists are given to define their own narratives.
As Ronami put it: “Genre boxing is always gonna be problematic,” particularly when applied to Afrobeats, a genre born from fusion. She urged the Western world to lean into an artist’s vision and adopt a more holistic approach to the genre, noting that it emerged from blending multiple sounds rather than fitting into a single box. “I think human beings are wired to process information in specific ways so that it's snackable,” she said. “But I think it’s important for the Western world to actually connect with what they’re trying to say, as opposed to what’s easy for you as a consumer.” Turning her focus to the artists themselves, she added that authenticity begins with self-awareness: “It’s time to figure out who you are individually and create music that feels right to you. Don’t try to fit into a box that helps other people digest what you are.”