Elizabeth Antidius Shumbusho | Africa Guardian
Last year, I took a trip from Philadelphia to Washington, DC, to witness a legendary performance by Angélique Kidjo, the iconic 64-year-old Beninese musician, at the Kennedy Center with the National Symphony Orchestra. Widely regarded as Africa’s most recognized global artist, Kidjo has five Grammy wins and 15 nominations, along with years of world tours. Time dubbed her “Africa’s premier diva” in 2007, and NPR called her “Africa’s greatest living diva” in 2013. After 40 years in the industry, Kidjo’s influence continues to grow, especially after her first international album, Parakou, hit the global stage 35 years ago. At the Kennedy Center, in a hall filled with diverse people, Kidjo did what she does best: bringing the vastness and richness of African music to life. Her performance seamlessly incorporated songs from her own catalog, alongside tributes to legends like Fela Kuti, Miriam Makeba, and Burna Boy, giving the audience a deep appreciation for the expansive legacy of African music.
While Kidjo has long been a leading force in popularizing African culture globally, by 2024, she wasn’t alone. The year witnessed a surge of African women dominating cultural events—gracing the Grammys, the Met Gala, and the Olympics, among other stages. Some highlights include:
- In February, Tyla won the inaugural Best African Music Performance Grammy for her hit “Water.”
- At the Met Gala, she stunned in a custom Balmain dress that transformed her into a sand sculpture.
- Tems, having collaborated with superstars like Rihanna, Beyoncé, and Drake, released her soulful debut album Born in the Wild.
- Aya Nakamura, born in Mali and raised in France, stole the spotlight at the Olympics Opening Ceremony.
- Ayra Starr, who sings in English, Yoruba, Nigerian Pidgin, and French, released her second album and took over the festival scene all summer.
African women were undeniably at the forefront of cultural conversations in 2024. Over the past decade, Afrobeats—dominated by men like Burna Boy, Wizkid, and Davido—has largely defined global African music. Yet, in recent years, a wave of female artists has emerged, each bringing distinct sounds: Starr with her pop-inspired tunes, Tems with sultry R&B undertones, and Tyla with infectious Amapiano beats. These artists have challenged the narrow view that there’s a singular African sound, highlighting the continent’s rich diversity.
As Tyla said upon receiving the MTV Video Music Award for best Afrobeats song in September, “African music can be pop music too.” Though some viewed her words as dismissing Afrobeats, Tyla’s statement underscores the diversity of African music scenes. A Tyla track, for instance, could easily be mistaken for a pop hit from any American artist. Meanwhile, artists like Tiwa Savage have ventured beyond music, exploring film and storytelling, with projects such as Water and Garri, while Lupita Nyong’o engaged audiences with African narratives through her podcast Mind Your Own. These works challenge Western perceptions of what African culture and identity should be.
It’s vital to remember that, just like artists from any other continent, African musicians come from varied backgrounds and experiences. However, the global perception of African artists has often been reductive. A case in point is Tyla’s use of the term “colored,” which sparked controversy in the US, where it’s a derogatory term. In South Africa, however, it simply refers to someone of mixed heritage. Similarly, Aya Nakamura, with her African roots, was questioned for representing France at the Olympics, with critics arguing she wasn’t “French enough.” These instances remind us of the complexities of African identity, a term that has too often been oversimplified or misunderstood.
Looking ahead to the 2025 Grammys, where Tems and Yemi Alade are nominated, it’s crucial to recognize how these artists and their peers have expanded our understanding of Africa. By blending genres and defying geographical boundaries, these women have given us fresh perspectives on a continent whose identity has too long been shaped by external forces.
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