When Fela Anikulapo Kuti was building Afrobeat in the smoky clubs of Lagos in the late 1960s, he was creating a movement rather than chasing international acclaim. His revolutionary blend of highlife, jazz, funk and political consciousness became one of Africa’s most distinctive musical exports. Decades later, the younger generation transformed that legacy into something different altogether. Afrobeats (the sleek, pop-orientated sound that emerged from Nigeria and Ghana in the 2000s) would become a global cultural force.
Today, AkweyaTV observes that Nigerian stars are no longer visitors on the world’s biggest stages. They are headliners.
The Institutional Giant, Burna Boy
If there is one artist whose career mirrors the scale of modern Afrobeats, it is Burna Boy.
Unlike many of his contemporaries who built their brands primarily through touring, Burna Boy has become the preferred choice for major institutions and international sporting spectacles. His appearance alongside global stars at the ongoing World Cup (being hosted in USA, Mexico and Canada) and the UEFA Champions League Final Kick-Off Show in Istanbul in 2023 symbolised how deeply African music has entered mainstream entertainment.
That same year, 2023, he joined Davido and Rema at the NBA All-Star Game in Utah, where the league staged its first Afrobeats-themed halftime celebration. By 2024, he had achieved another milestone by becoming the first African artist to perform live during the Grammy Awards’ main telecast.
Yet perhaps his most remarkable accomplishments have come through his solo concerts. From Citi Field in New York to London’s West Ham Stadium, GelreDome in the Netherlands and Paris’ La Défense Arena, Burna Boy has repeatedly demonstrated that an African artist can sell stadiums traditionally reserved for Western superstars.
The achievement evokes memories of King Sunny Ade’s Grammy nominations in the 1980s and Fela Kuti’s international tours. But Burna’s scale is different. He is not merely introducing African music abroad; he is dominating some of the biggest venues in the world.
The Touring Trailblazer Wizkid
If Burna Boy is the institutional giant, Wizkid is the touring phenomenon.
Long before stadium concerts became fashionable among African artists, Ayodeji Balogun was methodically building a loyal audience. His three consecutive sold-out nights at London’s O2 Arena in 2021 represented a landmark moment. No African artist had ever commanded such sustained demand in Britain.
Then came Tottenham Hotspur Stadium in 2023. With more than 60,000 fans in attendance, Wizkid became the first African artist to headline and sell out a major UK stadium.
His success extended beyond arenas. He conquered Paris’ Accor Arena and earned one of contemporary music’s highest honours by headlining the Other Stage at Glastonbury Festival.
In many ways, Wizkid’s rise resembles the crossover achievements of 2Baba in the early 2000s. But while “African Queen” introduced global audiences to Nigerian pop, Wizkid transformed curiosity into a full-fledged market.
The People’s Entertainer, Davido
David Adeleke has built his career on pure charisma and endless hit records.
His role in FIFA’s 2022 World Cup soundtrack “Hayya Hayya” reinforced his status as one of Africa’s foremost ambassadors. He also brought his energetic performances to the Professional Footballers’ Association Awards in England.
But Davido’s greatest strength lies in connecting with audiences. His Timeless tour saw him sell out legendary venues such as Madison Square Garden and London’s O2 Arena.
Where Burna Boy projects grandeur and Wizkid exudes cool sophistication, Davido’s style is rooted in accessibility. He remains perhaps the most relatable of Nigeria’s “Big Three”.
Royalty and Prestige: Tiwa Savage
For years, Tiwa Savage carried the burden of representing female Afrobeats artists on the global stage.
Her performance at King Charles III’s Coronation Concert in 2023 made history. Standing before royalty at Windsor Castle, she became the first Nigerian artist to perform during a British coronation celebration.
Her appearances at the Global Citizen Festival and sold-out shows at London’s O2 Brixton Academy further strengthened her reputation as the Queen of Afrobeats.
Much like Onyeka Onwenu and Christy Essien-Igbokwe before her, Tiwa has shown that female Nigerian artists belong at the centre of international conversations.
The Quiet Conqueror, Tems
Tems has taken an entirely different route.
Her haunting voice and songwriting abilities made her a favourite in elite entertainment circles. From Oscar recognition through “Black Panther: Wakanda Forever” to appearances at Coachella, Glastonbury and major American award events, Tems has become a symbol of sophistication.
Unlike previous stars who relied heavily on dance records, Tems built her reputation through artistry and emotional depth.
Rema and Ayra Starr: Gen Z Take-Over
Rema and Ayra Starr represent a generation that grew up with Afrobeats already established internationally.
Rema stunned football audiences when he performed “Calm Down” at the Ballon d’Or ceremony in Paris. Alongside Burna Boy and Davido, he also appeared at the NBA All-Star Game.
Ayra Starr, meanwhile, has become one of the brightest young voices in global music. Her performances at Rock in Rio and Glastonbury underline the confidence of a generation no longer seeking validation.
For them, international success is no longer extraordinary; it is expected.
The Men Who Built the Foundation
Long before streaming numbers and Grammy performances, there were pioneers.
2Baba’s “African Queen” became one of Africa’s first modern crossover records. P-Square filled arenas across the continent and the diaspora years before Afrobeats became fashionable in America.
P-Square’s reunion and subsequent global performances proved that classics never fade.
Meanwhile, Femi Kuti and Seun Kuti continue to preserve the original Afrobeat tradition. Their performances at Glastonbury, the Hollywood Bowl and New York’s Apollo Theatre remind audiences that contemporary Afrobeats owes a debt to Fela’s revolutionary sound.
Asa and M.I Abaga represent another side of Nigerian excellence—music built on intellect and musicianship. Whether at Montreux Jazz Festival or international hip-hop showcases, they have proven that Nigerian artistry extends beyond commercial pop.
The Great Historical Shift
So, let’s take a bird’s-eye view of the whole development of Nigerian pop music, whether as Afrobeat, Juju, Afrojuju, or Afrobeats.
In the 1970s, Fela fought censorship.
In the 1980s, King Sunny Ade chased international distribution.
In the 1990s, Nigerian artists battled piracy.
In the 2000s, 2Baba and P-Square sought recognition.
By the 2020s, the struggle had changed completely.
Nigerian musicians were no longer asking for seats at the table.
They had become the entertainment.
From Afrika Shrine to the Grammys, from Ojuelegba to Madison Square Garden, from “African Queen” to “Last Last,” the story of Nigerian music is ultimately a story of persistence.
And perhaps somewhere, Fela Kuti, who once declared music to be the weapon of the future, would smile at the irony.
His weapon has conquered the world.
Next on AkweyaTV, we will take a look at the gospel music end where Sinach, Frank Edwards and others are taking on the torch lit by Panam Percy Paul.
