The book chronicles the social and cultural development of the explosive music genre, tracing its rich history from the African continent all the way to the West. This exciting new book takes a unique look at the music of the African diaspora, delving into how Afrobeats and its sub-genres have provided new articulations of Black identity and pride.
Here’s my first Nonfiction of the year and it’s on a topic I have never read on. My IG Highlights have Afrobeats because it’s a genre of music I enjoy.
My first thought after reading this book was “this book is good, detailed, well researched, follows a structure and is well written. The book starts with the author’s personal relationship with Afrobeats, Fela and Afrobeat, the Burger Highlife era, Hiplife, women in Afrobeats, the Shanking era-UK Funky House, Dance, Producers, Afrobeat vs Afrobeats (with an S), Diasporic sounds, Afrosuffixes and everything in between and The future of Afrobeats.
The book has interviews with musicians Lee Dodou, Amarae, Wale Davies also known as Tec, Show Dem Camp, Skepta and Estelle, Producer - Gafacci, Karen Nyame, Dancer - KB, MC- Mista Silva, former General Manager of Sony Music West Africa, Micheal Ugwu, and festival owners among others.
I enjoyed the author’s personal relationship with Afrobeats. You can tell that this book was written from a place of understanding the people, places, culture and most importantly the music.
The book throws a spotlight on African-ness, maintaining the spotlight and paying homage to the pioneers, celebrating the rich history, and identifying the geographical location, producers, and dancers contributing to the rise of Afrobeats.
Most of the music mentioned in Fela’s chapter, Burger Highlife chapter and Hiplife chapter is music that reminds me of important moments with my family and friends.
The chapter WXMEN in Afrobeats is such an interesting chapter, it critically examined the absence of women in music in the early part of the 20th century, the expectation for women within the West African society, women who broke the barrier and used their success to cause a change in the society. Adofo writes
The reality of being a woman artist on the African continent and in the diaspora is challenging, yet they continue to persevere
At this turning point when African identity and pride are being recognized and the narrative is slowly shifting - celebrating the rich history and culture - it is imperative that we tell the story of our journeys. Of our music in order to shape the narrative and lead the conversation. I think that this book achieved this purpose.
At the end of the book, Adofo makes the following profound statement,
The rise and dominance of this cultural phenomenon called Afrobeats has created a new African economy and the world. One where young Africans can become creators, owners, record label executives, festival owners, music producers, directors, and artists whilst proudly showcasing their Africaness. To be an African and proud on the global stage is a radical sentiment. Africa is being centred on the global stage not because of struggle, war or famine but because of true Black Creativity. The world has come back to the source and the new generation of African artists will continue to create newer expressions and the cultural renaissance shall continue. Africa to the world. The world to Africa
I highly recommend this book. This ticks the box for my #readghanaianchallenge - non fiction book by a Ghanaian author.
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